![]() George Harrison’s short tour of Japan in December of 1991 with old friend Eric Clapton and his band marked the Quiet One’s first stab at touring since that troubled run in ’74. Paul McCartney may have been the one who first started messing around with analog adventurism during the Revolver era, but with his second solo project it was Harrison who dove deep into the chasm of these studio explorations when he acquired his first Moog synthesizer.Įlectronic Sound was issued on the Fabs’ incredibly shortlived avant-garde offshoot of Apple Records-cheekily dubbed Zapple-and entails two lengthy compositions of amorphous sonic experiments on the Moog IIIc modular synth, which he had purchased directly from its inventor, the late Robert Moog, and is still owned by his family to this very day.ĭespite being hit with a lawsuit from renowned synthesizer player Bernie Krause, who claimed that the track “No Time or Space” was actually a recording of him teaching Harrison how to play the Moog and released without his consent, both this 25-minute soup of Silver Apples-angling burps and delays and its overdubbed 18-minute counterpart on the flip (“Under the Mersey Wall”) serve as an indulgent and oddly visionary testament to the Zapple label and its unsung promise to bring the avant-garde to the pop crowd. ![]()
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