Label: Super Sound - SND-CD-005 • Format: CD • Country: Australasia • Genre: Non-Music • Style: Special Effects
Electronic Sound is the second studio album by English rock musician George Harrison. Released in Mayit was the last of two LPs issued on the Beatles ' short-lived Zapple record label, a subsidiary of Apple Records that specialised in the avant-garde. The album is an experimental work comprising two lengthy pieces performed on a Moog 3-series synthesizer. It was one of the first electronic music albums by a rock musician, made at a time when the Moog was usually played by dedicated exponents of the technology.
Harrison subsequently introduced the Moog to the Beatles' sound, and the band featured synthesizer for the first time on their album Abbey Road. Krause later said that, with "No Time or Space", Harrison had recorded the studio demonstration without his knowledge and that it incorporated ideas he was due to include on his forthcoming album with Paul Beaver.
The cover artwork of Electronic Sound was taken from a painting by Harrison. The front cover shows Krause operating the Moog console, while the back depicts Derek Taylor 's office at Apple and the pressures afflicting the company at the time. The album has received an unfavourable response from many rock critics; these writers dismiss it as unfocused, unstructured, and consisting of random sounds.
Some commentators and musicians judge it to be an adventurous work that displays the Moog's sonic potential at a time when the system was in its infancy. In the United States and Canada, the LP was pressed with the two tracks swapped around, leading to confusion regarding the identity of the pieces.
The order was corrected for the album's CD release in The reissue includes essays by Kevin Howlett and electronica musician Tom Rowlandsalong with Dhani Harrison 's explanation of his father's artwork. Although a guitarist and, froman aspiring sitarist under Indian musician Ravi ShankarGeorge Harrison turned to keyboard instruments as a tool for songwriting in Zapple was intended as a creative outlet for avant-garde musical works and spoken-word albums.
Harrison bought the system from the Moog company through Krause, and later had it set up at EMI Studios in London for the Beatles to use on their recordings. According to the album's liner notes, "No Time or Space" was recorded "in California in November with the assistance of Bernie Krause". Krause's name was originally included on the front cover of Electronic Soundunder Harrison's, but it was painted over at Krause's insistence. Krause felt insulted by the treatment he received at the Apple Corps headquarters, where, with Harrison indisposed, the staff had no knowledge of his visit, and were wary of con-artists.
Krause and his wife then went to Paris, only to be summoned back to London by Harrison once he was released from hospital. The notes accompanying the track listing on the LP sleeve were taken from a Zapple press release written by Richard DiLello who served in the position of "house hippy" at Apple. The bass line had been milked through the Moog machine and, lo and high, we behold electronic music …"  The inside sleeve included a quotation attributed to "Arthur Wax": "There are a lot of people around, making a lot of noise; here's some more.
The cover of Electronic Sound was painted by Harrison himself. The reverse is a scene from Derek Taylor 's office at Apple, with the words "Grapple with it" painted above and below a white sofa. Harrison's son Dhani says that the two sleeve images were part of a single large painting, which he China Girl - David Bowie - Serious Moonlight (VHS) with his father after discovering it in the family home, Friar Parkin the s.
Harrison appears as a small blue smiling face below this, "making the tea", while the green shape along the bottom of the image Electric Sander - No Artist - Sound Effects 5 Jostick,  one of his and Pattie Boyd 's Siamese cats The sleeve Electric Sander - No Artist - Sound Effects 5 credit co-production on "Under The Mersey Wall" to "Rupert and Jostick The Siamese Twins". Writing on his website Head Heritage under his pseudonym "the Seth Man"Julian Cope views the artwork as an apt Dialog: Durchlaucht, Hier Ist Ihre Breiftasche Wieder - Johann Strauss* - Julia Varady*, Lucia Pop of the whimsical nature of the album and its colourful and experimental tones.
While he assumes that the "friendly Frankenstein" on the front cover is Harrison, Cope comments that the figure appears to be entangled within the system's patch leads, as the Moog console is decorated in a psychedelic style that's both reminiscent of contemporary work by the Dutch design collective The Fooland representative of the sounds found on the album. On the original United States and Canada pressings of Electronic Soundthe order of the recordings was accidentally switched, although the titles were not.
The Moog 3P synthesizer used by Harrison on the album is still owned by the Harrison family and is pictured in the centre photo spread of the CD reissue. Dhani Harrison supplied an essay in the CD booklet  in which he recalls his father's explanation of the cover painting. In his joint review of Electronic Sound and Life with the LionsEd Ward of Rolling Stone dismissed the Lennons' album as "utter bullshit"  and said that Harrison had "done quite well learning his way around his new Moog Synthesizer in such a short time, but he's still got a way to go".
Ward added: "The textures presented are rather mundane, there is no use of dynamics for effect, and the works don't show any cohesiveness to speak of. However, if he's this good now, with diligent experimentation he ought to be up there with the best in short order.
Writing in Fusion magazine, Lloyd Grossman pondered whether the album would have been released if not for the Beatles owning Zapple. That is the way [electronic music] must go. In the Rolling Stone Album GuideMac Randall called the album and its predecessor, Wonderwall Music"interesting, though only for established fans".
And when you consider that synthesizers were only capable of playing one note at a time and sounds could not be stored or recalled with the push of Electric Sander - No Artist - Sound Effects 5 button, the achievement becomes even more remarkable.
In his appraisal of Harrison's solo career for Mojo inJohn Harris described the album as "Fabdom's answer to Metal Machine Music ", adding: "Not exactly music, though you could conceivably assume the endless whooshes and random notes were the work of admirably out-there Krautrockers. He says that Harrison's fascination with the Moog typified the interest the new instrument received from top rock musicians at the time, and he adds: "Luckily for us he decided to release it with a great cover painting by a small child … While my Synth gently beeps.
In a review for UncutRichard Williams said that just as the Beatles' fan-club Christmas records were inspired by the GoonsElectric Sander - No Artist - Sound Effects 5 inspiration for Electronic Sound appears to have been "another BBC institution of their formative years: the Radiophonic Workshop ". According to Williams, the The Immortal Ones - Primal Fear - Seven Seals conveys "the joy of a boy with a new toy" and Hold Up - The Living End - Modern Artillery like what you might get if you taped a contact microphone to the stomach of a digestively challenged robot".
He concluded by saying that the self-deprecating sleeve note from Arthur Wax "still sums it up". He said that while Harrison was not a synthesizer innovator in the mould of Brian Eno or Jeff Lynne"the intention behind Electronic Sound is one of exploration and discovery, an artist limbering up his musical mind to discover how far the boundaries of modern instrumentation could take him.
Out of context, Electronic Sound would sound maudlin, even Electric Sander - No Artist - Sound Effects 5. Here, as a key step in the progression of Harrison the solo artist, it sounds audacious in its primitiveness Electronic Sound was one of the first electronic music albums made by a rock musician.
In their book on the history and legacy of the Moog synthesizer, Trevor Pinch and Frank Trocco cite Harrison's use of Krause's studio demonstration as an example of the difficulties faced by "Moogists" such as Beaver and Krause in gaining acceptance for their efforts. The authors write that the perception in the recording industry during the late s was typically that, because of the highly technical aspect of the Moog modular system, these pioneers were simply engineers Electric Sander - No Artist - Sound Effects 5 than artists or musicians.
Hartford Courant music critic Roger Catlin has said that the album's Step Up - Drowning Pool - Sinner / Desensitized is limited to aficionados of "early synthesizer experiments".
I'm looking at it, and I saw it has filters, envelope generator — what the hell is all this stuff? He adds: "It's not big in terms of structure, melody, arrangements All pieces credited to George Harrison. US and Canadian LP pressings incorrectly switched the order of the recordings but did not switch the titles.
From Wikipedia, the free encyclopedia. George Harrison. All I did was get that very first Moog synthesizer, with the big patch unit and the keyboards that you could never tune, and I put a microphone into a tape machine … So whatever came out when I fiddled with the knobs went on tape — but some amazing sounds did happen. Although the wild experimental phase of The Beatles only lasted a short time, it was a Hypnotic Tango (Klubbingman Club Mix) - Master Blaster - Hypnotic Tango direction for anyone in the top of the charts to attempt, even as a side-project.
Spill Magazine. Retrieved 4 March Retrieved 20 February Acoustic Guitar. Archived from the original on 10 October Retrieved 24 July Retrieved 18 May Retrieved 26 July September Retrieved 25 July Apple Records.
London: Emap. Head Heritage. The Second Disc. Rolling Stone. Available at Rock's Backpages subscription required. Retrieved 29 July The Quietus. Retrieved 17 July New York Observer. Electronic Sound CD booklet liner notes. Record Collector. Archived from the original on 10 November Electric Sander - No Artist - Sound Effects 5 Retrieved 1 August Hot Press.
Retrieved 28 October Boyd, Pattie; with Junor, Penny Wonderful Today: The Autobiography. London: Headline Review. Brackett, Nathan; with Hoard, Christian eds CS1 maint: extra text: authors list link Brend, Mark Electric Sander - No Artist - Sound Effects 5 Bloomsbury Academic. Castleman, Harry; Podrazik, Walter J. Clayson, Alan London: Sanctuary. The Editors of Rolling Stone Everett, Walter Graff, Gary; Durchholz, Daniel eds CS1 maint: extra text: authors list link Greene, Doyle Jefferson, NC: McFarland.
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