September 30, 2013

"The Third Ear Band’s soundtrack to Macbeth is seminal"...


One of the things I'm usually asking for is why so many bands are claiming to be influenced by the Third Ear Band.  You listen to their music and ask yourself: what hell have this music to do with the Third Ear Band's ones?
Here's a new band states it on an interview, The Toutatis from England.



Who are ya?
"Dried out by salt air and fine wines, By Toutatis are a collection of fops and grizzled folkies who use the “Three Bs” to create their distinctive sound: baritone, broken things and buzzing noises".

Where are you from?
"Many places, converging generally around the wonderful land of Saltburn-by-the-Sea".

How long have you been doing what you’re doing now?
"Three swift and sexually-charged years".

Is being a musician your full time job?
"Not having full time jobs is our full time job. Although drummer Ben works at the amazing Georgian Theatre in Stockton".

How would you explain your sound to someone’s 90 year old grandmother?
 
"Picture that favourite dancehall from your youth. Remember the glitz and the glamour? The dancing? The nights that never ended…? Now imagine it burning – slowly reducing to ashes festooned with shards of glitterball and cremated bowties. See the band resolutely playing in the corner? That’s us. With a wind organ". 

 



Are there any obvious influences in your music? "Jacques Brel, Tindersticks and Yann Tiersen have been bandied about…".

Are there any not so obvious influences in your music?
"The Third Ear Band’s soundtrack to Macbeth is seminal".




Apart from yourself of course, what other band/artist would you recommend our readers check out?
"Dressed Like Wolves, RM Hubbert, Natasha Haws, General Sherman…too many more to list".

Best place for people to find out what you are up to?
www.facebook.com/bytoutatis is where it all seeps out from. Tweets are regularly freed from @bytoutatisband





The band's last record "The Song we Sang to Death" is available for free listening at http://tinylights.bandcamp.com/album/the-songs-we-sang-to-death

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

September 26, 2013

A memory about the Thirds in 1972...


Miracle of the Net. Memories about the Third Ear Band from people that lived that Day. Here's Craig Runyon, who saw the band on live in 1972. This thing is taken from the excellent Facebook's TEB Fans Page run by Mirco Delfino (https://www.facebook.com/pages/Third-Ear-Band/156660855584?v=info). 
We thank him for the precious work he's doing...

"As a 19 year old immigrant from Baltimore. Glen Sweeney was very nice to me. I met him back stage at the premier of Matching Mole's "Little Red Record". He was the first person to start talking to me. I told him that I had seen Third Ear Band at the Kings Cross Cinema that summer supporting Hawkwind. I remember Third Ear Band played last that night well into the dawn they were magnificent. They were performing material from the recording that released years later entitled "The Magus". I specifically remember the song "Cosmic Wheel" being performed. The vocals in this haunting song were unforgettable. Glen explained to me that night that Third Ear Band were in a transitional period because they were moving from acoustic to electronic music. This was brought to a halt by the music commissioned by Hugh Hefner to compose the acoustic music soundtrack of Roman Polanski's Macbeth. They were paid £150,000 a generous sum for those days. Glen said he lived an ordinary life in a modest flat in London and that he wasn't interested in a rock star life style. He said that his cooker wire in his kitchen was broken.Glen also told me that every one was frightened of Roman Polanski people believed that he was cursed. That every where Polanski went people dropped off like flies.As t ime foretold Glen Sweeney wasn't interested in fame and fortune.His art came first.I think his generation was the last to be like this.I hope that Glen's great knowledge in music can be passed down to the next generation.This is very important for the culture.The night I met Glen I was with Lol Coxhill who has also sadly passed away.I don't know if they ever worked together because Lol did work in the folk genre with The Albion Band.This was a profound generation of truly great artists.That lived in a time of great optimism and hope.They must never be forgotten".


Editor's chronological notes: the London King's Cross Cinema TEB concert was played on June 6th, 1972. The premiere of Matching Mole's "Little Red Record" was probably around September of that year, just before the band disbanded in late September. The album was finally realised in November of that year.

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

September 20, 2013

New attempt to interview Peter Mew, E.M.I. Studios sound engineer that recorded TEB in the '60's...



Ghetto Raga Archive has tried a new attempt to interview Peter Mew, the well-known sound engineer that recorded TEB in the Sixties at Abbey Road studios.
Now a kind Holly Pearsons, "Communications Co-ordinator" at E.M.I., answers me that "Peter Mew has now retired from his post at Abbey Road Studios, so I have forwarded your email to him at home. If he's interested in taking part, I'm sure he will be in touch with you directly".

So we hope Mr. Mew would be agreed with this, it would be very interesting to ask him some questions about the past with the Thirds...



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

September 15, 2013

English folk musician & singer Sharron Kraus states her pastoral music is inspired by the Third Ear Band...


"Sharron Kraus is a singer, musician and songwriter who both defiantly recasts and tenderly cherishes the folk tradition. Her songs tell intricate tales of rootless souls, dark secrets and earthy joys, the lyrics plucked as sonorously as her acoustic guitar. Utilising voice, field recordings and sparse instrumentation, her new project, 'Pilgrim Chants & Pastoral Trails' attempts to evoke the music embodied within the landscapes of Mid Wales. In Sharron's own words: 

"Driving along the Elan Valley from Rhayader to Aberystwyth one sunny day I had the overwhelming sense that there was music contained in the landscape, waiting to be discovered. I decided to move to Mid-Wales, to a quiet place just north of that valley and try to tap into that music and draw it out. Over a period of two years I walked and drove around the area, criss-crossing the landscape, stopping wherever the magic of the place was too strong to ignore. I took a minidisc recorder with me and recorded the birds, streams and waterfalls, the animals, the wind, and the jet planes that sliced through the quiet. I listened and absorbed as much as possible and then went home and recorded. 
"My initial aim was to record a soundtrack for my own experiences, something to listen to as I drove along the winding mountain roads or walked out in the hills at night, but as the project developed and other musicians added to it, the pieces moved out of the realm of the purely personal and became soundscapes that captured something of this place, unlocked an enchanted world. Musical reference points include Eno's ambient works, Richard Skelton's landscape-inspired pieces, Mike Oldfield's 'Hergest Ridge', Popol Vuh's soundtrack to Herzog's 'Nosferatu' and the music of the Third Ear Band, Fursaxa, Plinth, the latter two being people I've collaborated with." (from Second Language Music site at http://www.secondlanguagemusic.com/news.html)


Listen the full album of this really pastoral music at http://sharronkraus.bandcamp.com/album/pilgrim-chants-pastoral-trails and, beyond the inspiration admitted, decide by yourself if the references are true.
To myself, this sounds are quite near to the gloomy, sinister, esoteric mood of some TEB music ("Macbeth"?). Really English and organic, pagan and ritual... Alchemical? Ipnotic?... and the very impressive vocal textures (i.e. on "Dark Pool" or "Cadair Idris") remind me that masterpiece titled "Parallelograms" by Linda Perhacs (1970)...
The same Rob Young on his seminal book "Electric Eden" (Faber and Faber, London 2010) quotes Kraus in a group of musician "all sallying into the wildwood with dronal, rustic "Dark Britannia" and viewing the tradition through the retrospective of prims like The Wicker Man" (page 604). 


Realised on August 13th, 2013, the record is played by Sharron Kraus (voice, guitar, dulcimer, organ, recorders, drones, percussion, field recordings), Harriet Earis (harp),
Mark Wilden (drums) and Simon Lewis (Korg MS-20). 

Brave English (new) folk music! 

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

September 09, 2013

A new pretty picture of the Third Ear Band emerged from the Net!


This is a new unknown photo of the Third Ear Band taken at the Isle of Wight festival on August 31th, 1969 by Karen Francis.


Differentely from the set taken by Barry Plummer (read here the interview with him at http://ghettoraga.blogspot.it/2011/08/brief-interview-with-barry-plummer.html) this beautiful picture (as that one already known taken by Derek Halsall) show us the stage and the band in vivid colour. 
I've got a contact with Francis, and she's been very kind to write me these memories:

"Hi Luca
What a surprise! I remember odd bits about the 1969 IOW Festival of course but not too many specifics, after all I was just 18 years old then and I'm 62 now! I do recall the impact of the whole weekend as it was so enormous in my life back then - I had hitched a lift to the docks and bought a ferry ticket, walking to the site and spent the whole three days living on doughnuts and little else.
You asked about the Third Ear Band. They did make an impression on me and that is why I took their (rather bad) photo. I was in the front 'row' of 35,000 people, a little left of centre and up against a fence in front of which was the press area and where celebs like John Lennon and Yoko Ono occasionally sat. I had a little Kodak Instamatic camera and one film (12 photos) which is why I have so few photos!

I remembered the band because they were so different - I'd not heard anything like that and, to be honest, I wasn't sure whether I liked the music or not at the time. I could pick up the fact that the origins seemed to be all over the place, a bit gypsy, a fair bit of Indian influence and very 'modern' and alternative in outlook. As a very young person who had travelled some distance to see rock bands like the Who and Moody Blues, it was rather grown up and other worldly for me I suppose. Now that I am several decades older I can see how ahead of their time this band really was - if I could whistle back in time now I would appreciate their stuff far more and indeed I do have a copy of the remastered Alchemy so you see they did make an impression :-)

I expect that you have managed to source a copy of the 1969 IOW programme for yourself but, if not, this is what the description of the band said:
"The music is the music of the Druids, released from the unconscious by the alchemical process, orgasmic in its otherness, religious in its oneness, communicating beauty and magic via abstract sound whilst playing without ego enables the musicians to reach a trance-like state, a 'high' in which the music produces itself. This is the aim of the Third ear; to act as carriers of consciousness and to play a music that being non-conscious is an organic synthesis of all musics "...each piece is as alike or unalike as blades of grass or clouds".

I had no idea what that meant, still don't :-) 

I enjoy photography but am, and always have been, an amateur. I take photos of wildlife for pleasure, that's all [check her wonderful photo blog at  http://butenature.wordpress.com/ ].
My photo is rubbish in my opinion but feel free to use is it if you wish.
Cheers
Karen"

Rubbish or not, dear Francis, I'm sure this is a really precious gift for all the TEB fans around the world!

      
  The original page of the festival programme dedicated to the TEB.


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

September 07, 2013

Another Italian band inspired by the Thirds...?


Clessidra [hourglass in english], a new Italian band from Tuscany, seems to be inspired by the Third Ear Band. This is what the Web site "Fritto Misto" claims at http://frittomisto12.wordpress.com/2013/08/19/clessidra-carta-malabarica-manza-nera/
about their new album titled "Carta Malabrica" (Manza Nera).
I don't know what some writers (journalists, experts, fans...) in the Net know about the TEB's music but sometimes this relations are very obscure and vague for myself...
 

A certain T/T writes: "The interior and oniric space sketched out by the Clessidra's lush maps has something of dangerous and hostile: and unfathomable desire to pull out to the obvious and renown that mainland already extensively explored and categorized under the obliging cathegory of "post-rock"".


Anyway, even if very interesting to my ears, you can listen to this music and decide what do you think about it. 
As usual, any comments, ideas, replies is well accepted by the Ghetto Raga Archive...

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

July 23, 2013

An ironic point of view about music by Dave Tomlin...

This is one of the last writings by Dave Tomlin published by IT internet site at http://internationaltimes.it/music/
It's dedicated to the music with the peculiar sardonic irony of Dave...
You can read all the posts by him at http://internationaltimes.it/author/davetomlin/
 
Music
The language of music conforms within a mathematical matrix to produce a kind of grammar, whereby each tone is identified by name and endowed with a chronological period.
Thus each symbol in the language must simultaneously represent both placement and time.
Music though, like its sister, poetry, is founded upon an ultimately ungovernable spirit; wild to the rules of any grammar and always ready to confront the righteous pedant with a more existential viewpoint. 



The Hum
 
Smith, a simple soul, has encountered his friend P. B. Rivers, a rabid existentialist, and they now sit drinking coffee at a table outside a café.
P. B. Rivers opens a conversation: ‘This is the age of traffic and shopping’, he announces, and slits his eyes meaningfully at Smith as if willing him to respond, but Smith, not being the least interested in either subject turns for relief to a technique he has only recently evolved.

Realising that whistling distorts the lips, making the exercise obvious if undertaken during a boring conversation, he had discovered that he can hum without this handicap. He has also detected three levels to the discipline. The first is a hum so quiet that it is hardly detectable even by himself. The second is loud enough to be heard by another but not sufficiently so as to reveal its source. The third, an uninhibited and full-bodied hum is capable of overcoming any conversation.

‘Traffic is something other people do’, he thinks, ‘and shopping is some sort of weird art form now more popular than football; both devoid of any interest’. Therefore it is at this point that he begins to utilise his hum.

He chooses a lightish tone, not too deep and one which is easily maintained. Faintly at first and then, given the generous parameters of the situation, begins gradually to increase the volume until he perceives that P. B. Rivers has become aware of it, but not yet that it is issuing forth from Smith. He now begins to go over the top and the, by now, powerful hum, growing ever louder, makes its source obvious.

‘Mmmmmmmmmmmmmmmmmmm,’ goes Smith.

P.B. Rivers is unfazed by this display of social precociousness and merely cocks an ear; he has perfect pitch and can accurately identify any tone.

‘That’s G sharp,’ he snaps irritably.

‘Oh, is it?’ says Smith.

‘I thought it was Mmmmmmmmmmmmmmmmmm.’
 
Dave Tomlin
©2013

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

July 12, 2013

Third Ear Band quoted on a magazine about the great late Claudio Rocchi...



The recent unexpected death of Claudio Rocchi at 62, a great Italian musician played some wonderful music in the '70's in some way inspired by the Third Ear Band (i.e. "Viaggio", "Volo Magico n.1" and "Volo Magico n. 2", recorded from 1970 to 1972), has led various tributes on Italian magazines: one of these on the weekly music magazine "XL" written by Andrea Silenzi about that music played and recorded in the Seventies in Italy by musicians as him, Franco Battiato, Osanna, Aktuala, Alan Sorrenti... The journalist also quotes the TEB in a section dedicated to Aktuala.

Even if in Italian, you can read it at http://xl.repubblica.it/articoli/claudio-rocchi-e-i-suoi-fratelli/3998/ and listen to some excerpts of very good music...

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

July 08, 2013

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) 

June 22, 2013

TEB's 1989 concert at the London Club Dog available for free downloading in the Net!


Thanks a meritorious blog called "Head Duster" we can get for free downloading the full concert TEB played at the London Club Dog "one chilly December night" of 1989.
Apart the bad introduction of the band taken from the Web (where the TEB "was originated from Canterbury"...!?), the blog's editor writes: "This tape was recorded at Club Dog @ the Sir George Robey pub, Finsbury Park, London on 15th December 1989 (the very gig on the flyer above). There are seven tunes included here, I'm afraid I'm not familiar enough with the band to identify them. (Recording notes - 2xPZM microphones above rear of audience>cassette deck>chrome cassette>> cassette deck > PC > sound editor > spliced@41m10secs > 320kbps .mp3)".
 
As reported in December 2009 here (http://ghettoraga.blogspot.it/2009/12/tebs-tape-recordings-at-london-british.html) actually the tracks played that night was eight:
1. "Druid One" (Sweeney - Minns - Coff)
2. "Sun Ra Raga" (Sweeney - Carter - Black - Dobson)
3. "Live Ghosts" (Sweeney - Minns - Carter - Samuel)
4. "Solstice Song" (Sweeney - Carter - Black - Dobson)
5. "Behind the pyramids" (Sweeney - Carter - Black - Dobson)
6. "Book of the dead" (Sweeney - Minns - Coff)
7. improvisation 

8. "Third Ear Raga" (Sweeney - Carter - Black - Dobson)

The TEB line-up was:
Glen Sweeney – hand drums
Lyn Dobson – sax and flute
Mick Carter – electric guitar and effects 

Allen Samuel – violin

The original recording is available at the British Library - 96, Euston Road - St. Pancras - London NW1 2DB.

Get the concert at: 
http://headduster.blogspot.it/2013/06/from-top-drawer-liii-third-ear-band.html

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

May 17, 2013

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) 

May 01, 2013

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)

April 30, 2013

An old radio show with the TEB available in podcast.


"Hello Luca,
Don't know if you remember me but my name is Ed Wilkins, and I hosted a progressive rock show on Stroud FM in 2011. I did a show covering the Third Ear Band and we conversed over for a while but it kept not going out and we eventually lost touch. I ended up leaving the station not long afterwards and move on to other things.

The reason I am writing to you after so long is due to the fact that I recently decided to return to the station and this time also got a Listen Again page, so until I have more shows I have decided to put up some of my old ones - including the Third Ear Band show!

You can listen to all of my shows on here - I intend to play more Third Ear Band on later shows so you can keep an eye out for them!
http://podcasts.stroudfm.co.uk/index.php?cat=An%20Hour%20of%20Prog%20with%20Ed%20Wilkins

The Third Ear Band show itself is this one:
http://podcasts.stroudfm.co.uk/index.php?id=1282


I deeply apologize once again for the problems encountered the show and hope this makes up for it. It will remain on the page until I have more shows to put up (eight hour limit) but that won't be for a while yet and I can always re-upload it. Hope you are well.
All the best
Ed Wilkins".

So thanks a lot Ed for putting the Third Ear Band music on air again!

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

April 24, 2013

Glen Sweeney's Hydrogean Jukebox and TEB's "Magic Music" reprinted in England.


After TEB's "Magic Music" reprinted last year for English indie label Floating World (with that Looker's awful cover), just at the beginning of 2013 Voiceprint has reprinted the Glen Sweeney's Hydrogen Jukebox album with the title "Songs from the Hydrogen Jukebox".  
Same song list and same Carolyn Looker's controversial cover...


Stewart Mason on cdUniverse Web site about the record:

"(...) The results sound a bit like a somewhat more song-oriented version of Angels Egg-era Gong: The groove is paramount, but in a structured format that, in spots, is recognizable as the kind of post-new wave/art-pop music that, say, Simple Minds was doing around the time of New Gold Dream. That connection to '80s pop is cemented in the album's last three songs, recorded by a reunited (and newly electronic) Third Ear Band in the early '90s and sounding like outtakes from Japan's later records, especially on the worldbeat-influenced "Behind the Pyramids." 

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

April 17, 2013

Unknown 1991 Ursula Smith's collaboration revealed!


Discovering few days ago the interview with Ursula Smith (Pank) in this Archive (http://ghettoraga.blogspot.it/2011/07/life-takes-so-much-time-interview-with.html), English musician Ed Wenn writes: 

"It was great reading this interview with Ursula as it helped fill in her back story to a great extent. Ursula was kind enough to record some cello and a little violin on a couple of tracks for my band, Big Ray, back in 1991. I knew she had been in the Third Ear Band, but at the time knew little about them or her beyond the fact that she was an acquaintance of my ex-girlfriend's mother (who was herself a violin teacher). So, like I said, it's great to find out more :-) 

For the record, Ursula was very, very generous with her time and her talent and contributed some beautiful cello to our songs. Considering that we called her out of the blue and gave her almost no notice, it's astonishing she didn't tell us to go and take a hike. She's credited as Ursula Pank on the album. For the completists among you the details are here: http://www.discogs.com/Big-Ray-Naked/release/2446276".
 
The Big Ray

Ursula played violin and cello on three tracks of the album (titled "Naked" and published on CD and LP format by City Slang in 1992) - "Windfall", "Missing a train" and "Carousel" - that you can listen and download free at http://mp3twister.com/Big-Ray.html

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

March 29, 2013

Japanese reissues in CD format of original Third Ear Band's albums!


Japan EMI-Harvest has recently reprinted the first three Third Ear Band's albums in a limited press CD format at the cheap prize of 1143 yen (9.47 euros - 7.98 pounds - 12.14 dollars).
Published on February 27, 2013, the label has sent to the shops "Alchemy", "Third Ear Band" and "Music from Macbeth" with the original artworks and the famous Japanese strip, as you can see on the pictures of the "Alchemy" edition here below:


 These are the details:

"ALCHEMY" (EMI Music Japan TOCP-71515)
"THIRD EAR BAND" (EMI Music Japan TOCP-71516)
"MUSIC FROM MACBETH" (EMI Music Japan TOCP-71517)

It would be interesting to check the audio quality, if some engineers have worked on the original masters, expecially for the "Macbeth" soundtrack available for years on CD just in that awful BGO edition...

Anyway, all things considered, a must just for compulsive kollectors! 


You can buy the CDs at http://www.cdjapan.co.jp

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

March 23, 2013

Dave Tomlin analyzes his two compositions from "The Magus" (1972).


I've asked Dave Tomlin to analyze his old compositions for the TEB's THE MAGUS album, "New Horizon" and "The Phoenix" (actually a poem declaimed by himself), and he has been so kind to do it for Ghetto Raga Archive. 
As everyone knows, THE MAGUS was recorded in 1972 by a line-up with Sweeney (drums), Minns (oboe, recorders and hammond), Mike Marchant (electric guitar and vocals), Simon House (electric violin, VCS3 and piano), Dave Tomlin (bass and flute) and Ron Kort (percussion, doom piano). The late Mike Marchant composed the majority of tracks inspired by Tarots. Recorded just in five days, rejected by Island Records, the album was lost in the vaults, re-discovered and published for the first time in 2004 by English Angel Air thanks the late sound engineer Ron Kort.
Here's Dave's writing about his tracks.

  
New Horizon (music & lyrics by Dave Tomlin)
There are four significant verses in the lyrics of this song. 


1) ‘We are standing on, our own horizon’

This, the first line of the song although intriguing, is in fact nonsense.
For those whose English is a little weak, the horizon is the visible line between the earth and sky. Sometimes this can be quite near depending on the kind of landscape. At other times it can be at a great distance (while at sea for instance).
Nevertheless, to stand on one’s own horizon cannot be done and were it to be accomplished would require shifting to another dimension. However, the concept leads to another seeming impossibility which is revealed in the second verse.

2) ‘Paths that lead this way, by-pass yesterday’.
I wrote this song around 1966 when the idea of ‘now’ was inspiring the minds of the hippies of that time. 'Baba Ram Das’ (Richard Alpert) book, ‘Be here now’, was required reading and the idea of abandoning the past in this quest had much power. This was the notion that launched the ‘happenings’ and spontaneous events that were the signature phenomena of the time. On a more personal level the idea also supported the idea that the personal ‘self' belonged to the past, and freedom from that self lay only in the present moment. Therefore, to by-pass yesterday was an invitation to a new kind of freedom.

3) ‘It’s made more or less, out of nothingness but that doesn’t mean, it cannot be seen’.
Quantum physics had of late revealed the insubstantial nature of matter which, although obtuse to the point of almost non-existence is still, nevertheless, commonly perceivable by the human eye.
Some forms of Buddhism also speak of this paradoxical fact.

4) There’s no reason why, we should have to lie/die. If the Pope goes mad, we’ll be very glad/sad’.
I realised when writing these lyrics that they might be controversial amongst those of a particular religious persuasion and therefore, as above, considered some alternatives. However, I left this decision to the very last moment, in fact while I was singing it, and, the times being what they were, I was seized by a bolshie spirit and went for ‘lie’ and ‘glad’.
Catholics of course are excused from adopting this view, but for those outside that mindset such an affliction to the Holy Father would seem to be of great benefit and undermine the credibility of that teaching, particularly for children who are being programmed into such a Satanic doctrine. For instance, in the view of that perfidious teaching to miss mass on Sunday is a mortal sin, and should that sinner die without seeking forgiveness in the confessional, will be cast into Hell for all eternity.
Enough to terrify and give nightmares to any sensitive and vulnerable child. 

               A beautiful page from "Conference of the birds" by Farid Ud-Din Attar (1177).

The Phoenix (music and poem by Dave Tomlin) 
This song also written in 1966 was based on and inspired by
‘The Conference of the Birds’. A 12th century Persian poem by Farid Ud-Din Attar.
‘Come you lost atoms to your centre draw and be the eternal mirror that you saw Rays that have wandered into darkness wide return and back into your sun subside’.
etc.

The birds go on a journey to seek their King, the ‘Simoch’ otherwise the Phoenix. 

"Conference of the birds" (detail), from Attar Mantiq al-Tayr (1493)

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