George Harrison - Electronic Sound (LP, 2024 Limited Edition Reissue)
- LP
- 1 piece(s)
- 1969
- 2 tracks
- 43 min
Electronic SoundCheapest atimusic.uk
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3.7
Average of 8 reviews
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George Harrison's "Electronic Sound" is certainly a polarizing album in his discography, and I've always seen him as less controversial than John Lennon (I believed Harrison and Ringo Starr were the Beatles who steered clear of the Lennon/McCartney feuds). This was one of only two albums released on the short-lived Zapple label (though it sports the same label as the standard Apple one), before Allen Klein stepped in and shut it down. Many dismiss "Electronic Sound" as mere trash, just a way to capitalize on the then-new Moog synthesizer. Not me. About nine years later, Vangelis released something similar with "Beaubourg," but not on a Moog (supposedly a Yamaha CS-80), and that one gets similar reactions. I didn't expect "My Sweet Lord" or "Here Comes the Sun" when I bought this. Harrison went to LA in late '68 to witness a Moog demo by Bernie Krause, then brought it to England, but not before recording "No Time or Space" with Krause (which upset Krause, as it was recorded without his permission or knowledge), and the other track, "Behind the Mersey Wall," was recorded in England. So, you've got to appreciate early electronic and avant-garde music. If you're okay with Vangelis' "Beaubourg" (or its 1980s counterpart, "Invisible Connections"), or the music of Nik Raicevic, Mort Garson, or Morton Subotnik (who used a Buchla, not a Moog), this might be your thing. You get the sense that George Harrison wasn't entirely sure what he was doing with the Moog (since I've never touched a modular Moog or seen one in person, I know they can be pretty intimidating), so many of the sounds are likely accidental—it's like turning knobs and pressing keys to see what happens. But again, it's not too different from listening to a Nik Raicevic, Emerson Meyers, or Morton Subotnik album in many ways. It's not like George Harrison was aiming for Tangerine Dream or Jean Michel Jarre here, nor was it an extension of the Beatles—it was him exploring avant-garde electronic music, and I genuinely enjoy it. It's truly an album from someone with no experience in this field. Of course, he never repeated this experiment. The poor US chart performance is no surprise—it shouldn't have surprised him either. This wasn't going to be chart-friendly, full of hits like "All Things Must Pass." After this album, the same synthesizer was put to good use on "Abbey Road," this time in a much more melodic and understated way. Beatles fans probably only want this for the same reason they want John Lennon & Yoko Ono's two "Unfinished Music" albums, but for those into early electronic and avant-garde, it's actually worth a listen. Update: I had been confused about which was actually "No Time or Space" (the Bernie Krause cut) and "Behind the Mersey Wall" as I own the original American LP pressing. Turns out "No Time or Space" starts off side one, despite it being credited as "Behind the Mersey Wall," as the Bernie Krause cut was 25 minutes. Apparently, side one and two were accidentally switched on the American pressing, although the labels weren't.
So, is there anyone out there who gives this a regular spin? ;-) Yep, as a collector, I've got this album, even on CD. But honestly, I don't find much depth in these two tracks to bring listening pleasure! It's fun, I guess, maybe...
Absolute CHAOS. I'm obsessed. The song by George on side one is fantastic but Bernie Krause's on side two is INSANE!! Been a Beatles enthusiast forever and just GOT my personal copy of this. Awesome thick UK pressing. The sound is so POWERFUL too. I'm in love. Highly suggest it. I know there's a sad part of the story involving both of them but that just adds to the entire intrigue of it. There's a legend as well as an enigma...and isn't that just like so much more in The Beatles Journey? The greatest tale ever told.
George was a total mastermind, even if it isn't many people’s go-to Harrison record, I'm really into it. The tracks have a pretty solid sound for that kind of music.
The sound and mastering on this record is super crisp. My copy is as quiet as can be, no problems there. The outer and inner sleeves look fantastic, with a shiny silver print and vibrant colors. It's a really enjoyable, early noise album. Play it at 45 RPM instead of 33. It sits perfectly on my shelf alongside Lou Reed's Metal Machine Music & Vangelis's Beauborg.
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