180g Vinyl Pressing of Experimental Second Solo Effort Mastered from the Original Analog Master Tapes and Cut at Capitol Studios
While it's generally accepted that George Harrison bloomed late as a Beatles songwriter, there's no denying it was worth the wait. The release of All Things Must Pass, in 1970, was like unstopping a bottle. An ambitious triple-album, it set the template for the nine studio albums that would follow. But Harrison's solo career really started two years earlier, with the release of the soundtrack to the 1968 psychedelic Jane Birkin vehicle Wonderwall. While Harrison was stockpiling material that would appear on All Things Must Pass, he was also indulging a taste for the experimental, marrying Mellotron with world music strains on Wonderwall Music, and further pushing into the avant-garde with the Moog excursions found on 1969's Electronic Sound.
As a direct result of The Beatles' keen curiosity about experimental music and other avant-garde artistic expression, Apple Records launched its short-lived Zapple subsidiary in February 1969 as a forum for unfettered sonic exploration, or, as announced at the time, "more freaky sounds." George's Electronic Sound and John Lennon and Yoko Ono's Unfinished Music No. 2: Life With The Lions, both released in May 1969, were Zapple's only releases before it was closed down.
Electronic Sound's cover art, painted by George, depicts his Moog IIIP (which was later used on four tracks by The Beatles on their album Abbey Road) with the four modules from which the sound was synthesized. Each side of the Electronic Sound LP featured one exploratory long-form work. However, the American version of the album placed the pieces on opposite sides to the UK record, but with the same titles retained on the labels. Consequently, there has been confusion about which track is which. Research for the out-of-print album's new release revealed that the UK LP was correct with "Under The Mersey Wall" on Side 1 and "No Time Or Space" on Side 2.
"Squalls of cavernous sound, white noise explosions, beautiful delicate patterns, the sound was wild and fluid and bore no relation to George's other work." - Tom Rowlands (The Chemical Brothers)