Electronic Sound

Despite what you may have read elsewhere, this is just noise. As much as I love George and he is my idol, if this noise came on the radio , you would call it interference

It has nothing to do with the music we know off George, a lot of noise.

Essential for a complete collection.

Please step outside of the boundary's and constrictions of "popular" music, this recording avoids all the trappings of pop music like melody, scales & chord progression, as soon as the artist feels these trappings coming they are avoided Barca different course is taken, the listener must do the same, open your mind, it's George Harrison of The Beatles experimenting with sound, you could do the same if you wish but you don't, if you did you would understand.

*This is a review for the 2014 version of the album*This album has quite a sci-fi soundtrack feel to it, admittedly quite a dark sci-fi, one of those that don't have a happy ending. I wonder if this is because Harrison's previous record "Wonderwall Music" was also a sound track?The album does have an enjoyable charm to it, with different sections of sound, but it is in essence it's a bloke faffing around with his new toy.Not as influential on avant garde music as the liner note suggest, but if you in the mood for something a little challenging it's a interesting musical time capsule.No extra track with the re-release, which is a shame, I bet because of the nature of the project, there was plenty of material left over. Well written liner notes & good sound quality, & in stereo.

How do you review music like this? This sort of music exists in it's own universe! it does what it says on the label. Blank your mind & float downstream. I can let 40 minutes float by no problem

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...

When you part own your own record label, there are certain liberties you can take. Apple once had a subsidiary called Zapple, a berth for experimental music that never got past two instalments. This was the second of those releases.Whereas Lennon's self indulgence spanned three albums, at least George got it out of his system and realised one was enough for anybody. This is him taking Gyorgy Ligeti and Stockhausen a bit too far. Experimental yes, but The Beatles were always experimental in sound. Maybe the listening public wasn't ready for something like this from a Beatle, or maybe it was that Harrison had yet to get to grips with this new fangled machine; the Moog synthesiser. (It confused America to such an extent they managed to mess up the track listing - and there were only two!)Though the whole thing consists of random 'noise' with no discernible music, it might appear to be someone merely twiddling some knobs but there does seem to be some cohesion with this, which some might consider dark and creepy, and also way ahead of its time in that it made others think that if he can do it, so can we. Surprisingly, this was issued on CD back in 1996 and passed by virtually everyone other than me and a few die-hards. Now it's been remastered, reissued and given a fair bit of publicity, it might be considered as classical avant- garde (if you like that sort of thing).Unfortunately, the near 44 minute playing time is probably 43 minutes too long. Worth listening to once just to hear why you'll never play this again, track one starts with something similar to the opening note of 'I Feel Fine', whilst track two is an amalgamation of static, Bleep and Booster, Forbidden Planet, and the Klangers. Students of early synthesiser use might appreciate George's delve into weirdness and others may consider this to be genius and the dawn of a new era for the likes of Kraftwerk but it isn't; it's up there with the worst records of all time.The accompanying booklet is informative and has some nice photos. Just be thankful there are no bonus tracks.