How did I never hear about this record until recently? Really out there, not musical, but I dig it, Reminds me of Metal Machine Music by Lou Reed as most of the fans of their respective bands that have heard those albums absolutely hate them.

This is not considered music by any means.. just some messed up sounds coming from instruments. I guess if you were a former Beatle, you can pretty much do anything you wanted !Do not waste your money on this one !

please , don t criticize what you can t understand.

Run. Run away from this! You have been warned. Makes Arc and Metal Machine Music sound downright tuneful!

This is truly a controversial album in the career of George Harrison, and I never thought he was as controversial as John Lennon (I always thought that Harrison, as well as Ringo Starr were the two Beatles members that wanted to stay away from the Lennon/McCartney bickering). This was one of just two albums on the short-lived Zapple label (in fact bears the very same label as the standard Apple label), until Allen Klein came in and put a halt on the operation. So Electronic Sound is considered nothing more than rubbish, simply to exploit a then-new instrument, the Moog synthesizer. Not by me. About nine years later Vangelis did something similar with Beaubourg, but not on a Moog (apparently a Yamaha CS-80) and that one too gets similar reactions. I didn't buy Electronic Sound expecting "My Sweet Lord" or "Here Comes the Sun". Harrison came to LA in late '68 to see a demonstration of the Moog by Bernie Krause, and brought it to England, but not first without recording "No Time or Space" with Bernie Krause (which upsetted Krause, because it was recorded on album without his permission or knowledge), and the other, recorded in England with "Behind the Mersey Wall".So you have to have an appreciation for early electronic music and avant garde. So if you have no trouble with Vangelis' Beaubourg (or its 1980s counterpart, Invisible Connections), or the music of Nik Raicevic, Mort Garson, or Morton Subotnik (who used a Buchla, rather than Moog), this should be right up your alley. One gets a big impression that George Harrison didn't entirely know what he was doing on the Moog (since I never laid my hands on a modular Moog, or seen one in the flesh, for that matter, I know they can be rather intimidating), so a lot of the sounds you hear are likely accidental, it's like turn the knobs and press the keyboard to see where it goes. But again, it's not too different from listening to a Nik Raicevic, Emerson Meyers, or Morton Subotnik album in many ways. So it's not like George Harrison was trying to go Tangerine Dream or Jean Michel Jarre here, nor was it an extension to the Beatles, it was him exploring avant garde electronic music, and I really do enjoy it, it's truly an album from a guy who had, well, no experience in this field. Of couse he never repeated this experiment again. Poor US chart showing is no surprise, it shouldn't have surprised him either, this wasn't going to be chart-friendly material, full of hits, like on All Things Must Pass. After this album, this very same synthesizer was put to good use on Abbey Road, this time, in a much more tuneful and low-key manner.Beatles fans probably only want this for similar reasons they want John Lennon & Yoko Ono's two Unfinished Music albums, but for those interested in early electronic and avant garde, it's actually worth hearing.Update: I had been confused 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.

i was a beatles fan way before i was a fan of early electronic and avant garde, but i just got unfinished music vol 2 in the mail today and i flat out loved it. i dunno about this album, i doubt i'll ever run across it for a price i'd want to pay, but it looks interesting

If you thought (like me) that in our lives a some kind of music has always missed for its childish and ultra terren&spacey atmosphere wich led in a ecstatic outer dynamic limbo, please check this. Who knows George Harrison How went straight ahead into this time to sum up such music that is lysergic and wonderfully naive. At that time LSD was a clue but here we have the FIRST moog recording ever published: before this no one else. Two marvellous pieces, both enjoyable for lenght and difference, exspecially crafted with the soundings that eat the silence to prorupt into the mind: the first has more different sounding that changes and returns, and surprises wit the new, the 2nd piece is longer and like a mantra wich greatly evolves. Sounding like a baby with a precious fell: the naif quality is the best value in this record. We have autechre now but take Electronic sound then! I would like have an entire album of things like this when the idea to play a moog was new little adventure!

This was the first record to use only Moog synthesizer.

Also:Pisces,Aquarius, Capricorn, and Jones Ltd by The Monkees from November 1967https://en.wikipedia.org/wiki/Pisces,_Aquarius,_Capricorn_%26_Jones_Ltd.

Exactly, thanks for these two great recordings mentioned. Just to add on (for others interested in picking up early Moog recordings, all favorites), check out:- Perrey and Kingsley - Kaleidoscopic Vibrations (1968)- The Byrds - The Notorious Byrd Brothers (1967)- Hal Blaine - Psychedelic Percussion (1967)- Emil Richards - New Sound Element / Stones (1967)

This isn't the first piece of recorded music to use a Moog synthesizer. The first record featuring a Moog was Mort Garson's Zodiac Cosmic Sounds; the first "pop" record to use one was Strange Days by the Doors. Both records were released in 1967.