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Most Helpful Customer Reviews
9 of 10 people found the following review helpful
Format:Audio CD
Frankly, as a piece of listening pleasure it is as interesting as a piece of warm, limp lettuce, BUT! It is an extremely important piece of musical history and a massively undervalued one at that. The first truly 'electronic' album in the full meaning of the sense and the first sustained use of the Moog synthesiser in recorded musical history. In other words it is the distant ancestor to all the electronic albums of the 80's, 90's and now. Harrison was undoubtedly the most truly innovative of the Beatles and yet gets sod all credit for this fact - too few people realise that George helped create the madness that was "What's the New Mary Jane", "Revolution No 9', and of course "electronic Sounds". It is an essential buy, if not one to actually listen to all that often. Still, if like me, you have a rare vinyl version, the cover art is fab (reputedly done by all 4 Beatles) and looks great on the wall. If you can get it - WONDERWALL MUSIC is really brilliant...
8 of 9 people found the following review helpful
Format:Audio CD
The Beatles were always at the forefront of technological and recording breakthroughs and in 1969 George acquired one of the country's first Moog synthesisers. His tinkerings on his new toy are presented here with the rich soundscape he creates evoking and sculpting vivid images in the mind. This is a wonderful album to usher in dreams and settle thoughts as you drift off to sleep at the end of a hard day. The "Zapple" label originated as a "paperback record concept" to produce speciality items to listen to once or twice then throw away. "Electronic Sounds" certainly meets this criteria as only hardened fans will cope with more than one listening. It's a shame that something conceived as throw-away is pitched at full price as despite its inability to withstand repeat listenings this album certainly deserves to be heard. Incidently, this remains the only album I have accidently played at 45rpm without noticing! Enjoy.
Format:Audio CD
Four stars because this is an important pioneering work, historically. There are just 2 tracks, 1 per side of the original vinyl,"Under the Mersey Wall" and "No Time or Space". Notably, George was 'assisted' by Bernie Krause (see Beaver & Krause In A Wild Sanctuary/Gandharva) on "No Time or Space". AMR has it that Krause also created the album art (not a communal effort by the Beatles as suggested elsewhere).
This is more of an experiment in sonic painting rather than anything musical. That was the purpose of Zapple records, to serve as an outlet for personal/avant garde/experimental work. I believe the label was discontinued after this and John's (even harder to listen to) foray into Primal Scream therapy and tapes of poor Yoko's miscarriage Unfinished Music Vol.2: Life With the Lions.
I recall buying this as a 16 year-old Beatles fan and, admittedly, being confounded and confused. I sort of liked it, as it was new,different and well, weird. I played it a couple of times but it didn't fit with anything I did so it ended up being neatly filed away. I think I preferred the electronic sounds of White Noise - An Electric Storm, which also came out in 1969. It was more noticeably 'musical' or at least dramatic.
Looking back now, in the context of the development of electronic music, this album has to be re-evaluated in a more positive light and recognised for the pioneering work that it is. I can certainly appreciate this was no throwaway effort or just playing with a new toy; the moog synthesizer could only produce a single note at a time which could not be stored and retrieved. Each note(or sound) was manually set up and generated by laboriously patching connections together and then would need to be recorded for insertion into the final work.
So, I say, "Bravo, George" and thanks again for all you gave the world; from your beautiful songs to groundbreaking electronica to big charity events (Bangla Desh) to Handmade Films (without you there may not have been a Life of Brian!)
This is more of an experiment in sonic painting rather than anything musical. That was the purpose of Zapple records, to serve as an outlet for personal/avant garde/experimental work. I believe the label was discontinued after this and John's (even harder to listen to) foray into Primal Scream therapy and tapes of poor Yoko's miscarriage Unfinished Music Vol.2: Life With the Lions.
I recall buying this as a 16 year-old Beatles fan and, admittedly, being confounded and confused. I sort of liked it, as it was new,different and well, weird. I played it a couple of times but it didn't fit with anything I did so it ended up being neatly filed away. I think I preferred the electronic sounds of White Noise - An Electric Storm, which also came out in 1969. It was more noticeably 'musical' or at least dramatic.
Looking back now, in the context of the development of electronic music, this album has to be re-evaluated in a more positive light and recognised for the pioneering work that it is. I can certainly appreciate this was no throwaway effort or just playing with a new toy; the moog synthesizer could only produce a single note at a time which could not be stored and retrieved. Each note(or sound) was manually set up and generated by laboriously patching connections together and then would need to be recorded for insertion into the final work.
So, I say, "Bravo, George" and thanks again for all you gave the world; from your beautiful songs to groundbreaking electronica to big charity events (Bangla Desh) to Handmade Films (without you there may not have been a Life of Brian!)
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