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Music for people with three ears

Cherry Red Records this month reissues the first three albums by the unique and wonderful Third Ear Band. I like CDs, and I especially like having them collected into boxes with Japanese-style facsimile sleeves, so this collection is irresistible. The group’s first two albums, Alchemy (1969) and Third Ear Band (1970), still sound timeless despite being products of their time, with the track you’d most expect to sound dated, Ghetto Raga, being free of sitars or Indian pastiche. Third Ear Band music is a kind of improvised folk, predominantly the product of oboe, violin and percussion, which sounds like something the group might have tuned into when they were playing for Druids at ancient sites (Stone Circle and Druid One are further track titles). The first two albums also have the additional attraction for this listener of a heavy emphasis on medieval mysticism, from the Atalanta Fugiens illustration by Matthäus Merian on the cover of Alchemy, and the symbols and astrological diagrams that fill out the inside cover of the second album, to the titles of that album which continue the alchemical theme: Air, Earth, Fire and Water. The group also borrowed some graphics from Aubrey Beardsley when they issued their musical manifesto in 1969.

Music From Macbeth (1972) is constrained in comparison to the albums that precede it, being subservient to Roman Polanski’s feature film, although there’s more music here than was used in the film. It’s also closer to rock music in places, with occasional fuzzed guitar, a Mellotron, and rumbles from a VCS 3 synthesizer played by a future member of Hawkwind, Simon House. The cover painting by Roger Dean isn’t one of his best. In Views Dean complains that Polanski “got the imagery wrong” for the scenes with the witches, a comment I’ve never understood. Polanski’s film is a naturalistic interpretation of the play which is well-served by the Third Ear Band’s drones and medievalisms. Incidentally, I’m sure the phrase “music for people with three ears” was used on a Harvest records press ad but if it was I’ve been unable to find any evidence of it. Anyone out there know the source?

Previously on { feuilleton }
• Night’s black agents
• Atalanta Fugiens

Weekend links 580

The Collective Lie We All Live By, a cut-paper collage by Allan Kausch from Maintenant 15, A Journal of Contemporary Dada Writing and Art.

• “It’s unusual that an album manages to be at once so much of its moment, yet so much outside it. Time was unmistakably a response to the electronic and synth waves that rose in the wake of punk. It was also a concept album about time travel, which couldn’t have been more pre-punk had it been focus-grouped that way.” David Bennun on Time (1981), ELO’s masterwork of science-fiction pop. The first song on the album, Twilight, is a thundering piece of synth bombast that prefigures Trevor Horn’s equally bombastic productions, and was used to memorable effect in the copyright-infringing animation made in 1983 for the opening of Daicon IV.

• New music: Disciples Of The Scorpion by The Rowan Amber Mill, and Shade by Grouper.

• “Psychedelic spirituality: Inside a growing Bay Area religious movement“.

• “It’s time to farewell this project,” says Ballardian.

• At Wormwoodiana: the seven greek vowels.

• A playlist for The Wire by Douglas Benford.

• Norman Blake‘s favourite albums.

• Astronomia Playing Cards.

• RIP Dusty Hill.

• Time (1973) by David Bowie | Time (1976) by La Düsseldorf | Time (1992) by Lull

Eiko Ishioka album covers

Eastward (1970) by Gary Peacock Trio. Photography by Hiroshi Asada, Tadayuki Naitoh.

Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Also another jazz-related post which includes Herbie Hancock via the V.S.O.P. album.

Eiko Ishioka is best known outside Japan for the costume designs she created for feature films, especially those in Francis Coppola’s Dracula, but she also had a parallel career as a graphic designer and art director, working with photographers and other designers on a large number of album covers. The examples here are a partial selection, many of which were created for East Wind, a label established by Nippon Phonogram to promote Japanese artists overseas.

Circle 2: Gathering (1971) by Circle. Design by Eiko Ishioka, Seiya Sawayama, Yoshio Nakanishi.

Weather Report Live In Tokyo (1972) by Weather Report. Design by Eiko Ishioka, Yoshio Nakanishi.

Miles Davis Story Vol. 2 (1972) by Miles Davis. Design by Eiko Ishioka, Yoshio Nakanishi. Photography by Columbia Records Photo Studio, Tadayuki Naitoh.

Black ink on silver foil, something that always looks impressive but doesn’t wear very well. This cover may have led to Ishioka’s work on Tutu (see below).

Winter Love, April Joy (1975) by David Friedman. Design by Eiko Ishioka, Motoko Naruse.

Continue reading “Eiko Ishioka album covers”

The Art and Music Collection, 1976–77

In the mid-1970s Dieter Brusberg and Siegfried E. Loch packaged a series of albums for the German division of Atlantic Records under the title The Art and Music Collection, a reissue scheme which paired each album with a print by a contemporary artist. This is an odd collection which I imagine was aimed at people like the father of one of my friends at school, the first person I met who owned a proper hi-fi system rather than a cheap stereogram. He liked to listen to progressive rock and jazz, and had a shelf of jazz records packaged in boxed editions that looked like they were ordered from an ad in a Sunday magazine.

New Orleans Blues by Wilbur De Paris & Jimmy Witherspoon. Art by Horst Antes.

The Art and Music Collection had lower production values than the boxed records but each album was housed in a heavy gatefold sleeve, some of which came with ribbons attached to the front and back covers. Inside the gatefold there was a picture of the piece of art chosen to complement the release, together with a note about the artist and a paragraph of text which I’m guessing attempted to draw a parallel between the picture and the music. With the exception of a lone Briton, Joe Tilson, all the artists were German or Austrian. The series managed eight numbered releases—collect the set!—with albums that might have been chosen at random from the Atlantic back catalogue, a curious mix of jazz, rock and blues. Each artist shares billing with the musicians (the artist names are also on the disc labels), which makes me wonder if the series troubled any musical egos. After album no. 6 someone at the record company must have realised they were giving the wrong impression by listing the artists first so they revised the name of the series to The Music and Art Collection. The artworks seem as randomly chosen as the music, unless the sleeve notes have convincing explanations for their selection. The paintings of Rudolf Hausner—an artist I’d never think to connect with The Doors—became a lot more visible a couple of years later when OMNI magazine used his art for a cover and a number of interior illustrations.

Hot Rats by Frank Zappa. Art by Bengt Böckman.

Continue reading “The Art and Music Collection, 1976–77”

Weekend links 575

La Belle Dame Sans Merci (1921) by George Barbier.

• “Organic Music Theatre goes beyond jazz into something else entirely—an ecstatic, openhearted melding of cultures. It is the first live recording of Don and Moki’s ‘organic music’ concept, a holistic blend of the arts and education. It is an album that everyone should own, an absolute marvel.” Geeta Dayal on Don and Moki Cherry’s Organic Music Theatre: Festival de jazz de Chateauvallon 1972.

• DJ Food continues his dig into the history of London’s Middle Earth venue with an account of a Magical Mystery Tour that ended up being more mystery than magic.

• The Lamp Magazine is running a Christmas Ghost Story contest with a first prize of publication in the Christmas issue of the magazine, plus $1000.

• Dennis Cooper‘s favourite fiction, poetry, non-fiction, film, art, and internet of 2021 so far. Thanks again for the link here!

• From sport to sex: Louis Staples on how the jockstrap became part of gay culture.

• At Wormwoodiana: Mark Valentine on the weird fiction of AE Coppard.

• “How vinyl records are trying to go green.” Trying…

• Mix of the week: XLR8R Podcast 701 by 40 Winks.

• New music: Rushes Recede by Sarah Davachi.

• Lisa Gerrard‘s favourite music.

• RIP Peter Zinovieff.

• Organic (1982) by Philip Glass | Core (Organic) (1995) by Main | Organic Mango (1996) by HAT