Editing Electronic Sound (section)

==Background==
[[File:Don Grierson with George Harrison Golden Apple Award.jpeg|thumb|right|upright=0.9|Harrison (left, with [[Don Grierson (music business)|Don Grierson]]), in Los Angeles in October 1968]]
Although a guitarist and, from 1966, an aspiring [[sitar]]ist under Indian musician [[Ravi Shankar]], [[George Harrison]] turned to keyboard instruments as a tool for songwriting in 1967.{{sfn|Leng|2006|pp=30, 32, 50}}<ref>{{cite magazine |first=David |last=Simons |url=http://www.acousticguitar.com/issues/ag122/feature122.html |archive-url=https://web.archive.org/web/20071010121901/http://www.acousticguitar.com/issues/ag122/feature122.html |title=The Unsung Beatle: George Harrison's behind-the-scenes contributions to the world's greatest band |magazine=[[Acoustic Guitar (magazine)|Acoustic Guitar]] |date=February 2003 |archive-date=10 October 2007 |access-date=24 July 2017}}</ref> These instruments included [[Hammond organ]] on some of his songs with [[the Beatles]], and [[Mellotron]]<ref>{{cite web |url=http://www.allmusic.com/album/yellow-submarine-mw0000668441 |first=Richie |last=Unterberger |title=The Beatles ''Yellow Submarine'' |publisher=[[AllMusic]] |access-date=24 July 2017 |archive-date=24 February 2021 |archive-url=https://web.archive.org/web/20210224151617/https://www.allmusic.com/album/yellow-submarine-mw0000668441 |url-status=live }}</ref>{{sfn|Everett|1999|pp=151–52}} on several of the Western selections on his debut solo album, the ''[[Wonderwall Music]]'' film soundtrack.{{sfn|Clayson|2003|pp=234–35}}<ref>{{cite web|first=Matt|last=Hurwitz|url=http://www.georgeharrison.com/albums/wonderwall-music/|archive-url=https://web.archive.org/web/20151104113245/http://www.georgeharrison.com/albums/wonderwall-music/ |title=Wonderwall Music|publisher=georgeharrison.com|archive-date=4 November 2015|access-date=1 February 2021}}</ref> Described by producer [[George Martin]] as the most dedicated of the Beatles in finding and creating new sounds for the band's studio recordings,{{sfn|Hertsgaard|1996|p=172}} Harrison became intrigued by the potential of the [[Moog synthesizer]] while in Los Angeles in late 1968.{{sfn|Everett|1999|p=242}}{{sfn|Winn|2009|p=222}} He was introduced to the instrument by [[Bernie Krause]], who, along with his [[Beaver & Krause]] partner [[Paul Beaver]], was the Moog company's sales representative for the US West Coast.{{sfn|Brend|2012|p=151}}{{sfn|Holmes|2012|p=446}}{{refn|group=nb|Among its initial appearances in the context of popular music, the instrument had been used by Beaver in 1967 on ''[[The Zodiac: Cosmic Sounds]]''{{sfn|Holmes|2012|pp=246–47}} and on [[the Byrds]]' "[[Goin' Back]]".{{sfn|Brend|2012|pp=164, 178}} The following year, [[Wendy Carlos]] achieved unexpected commercial success with ''[[Switched-On Bach]]'',{{sfn|Holmes|2012|pp=249–50}}<ref>{{cite web |url=http://www.mtv.com/news/1491321/moog-documentary-clearly-a-labor-of-love-by-kurt-loder/ |first=Kurt |last=Loder |title=Moog Documentary Clearly a Labor of Love |publisher=[[MTV.com]] |date=23 September 2004 |access-date=26 July 2017 |archive-date=28 July 2017 |archive-url=https://web.archive.org/web/20170728124323/http://www.mtv.com/news/1491321/moog-documentary-clearly-a-labor-of-love-by-kurt-loder/ |url-status=dead}}</ref> an experimental work that first heralded the melodic possibilities offered by the Moog synthesizer.{{sfn|Prendergast|2003|pp=70–71}}{{sfn|Pinch|Trocco|2002|pp=132, 147}}}}

An off-shoot of the Beatles' [[Apple Records|Apple]] record label, [[Zapple Records]] was intended as an outlet for [[avant-garde]] musical works and spoken-word albums.{{sfn|Greene|2016|p=197}}{{sfn|Miles|2016|pp=120–21}} The music on ''Electronic Sound'', consisting of two extended instrumental pieces – "Under the Mersey Wall" and "No Time or Space" – was performed on a [[Moog modular synthesizer|Moog 3]] modular system. Harrison bought the system from the Moog company through Krause, and later had it set up at [[Abbey Road Studios|EMI Studios]] in London for the Beatles to use on their recordings.{{sfn|Holmes|2012|p=446}}{{sfn|Everett|1999|pp=208, 242, 245}}

In author [[Alan Clayson]]'s view, the album was Harrison's "gesture of artistic solidarity" towards [[John Lennon]] and [[Yoko Ono]], whose experimental collaborations, having first appeared on the Beatles' 1968 track "[[Revolution 9]]", made up Zapple's other inaugural album, ''[[Life with the Lions]]''.{{sfn|Clayson|2003|pp=246, 249}}{{refn|group=nb|Music critic [[Richie Unterberger]] comments that although Lennon was the Beatle best known for embracing avant-garde music, and [[Paul McCartney]] subsequently went to considerable length to emphasise his own forays in the style, Harrison's absorption in [[Indian classical music]] and the sitar "were themselves avant-garde in the context of the 1960s".{{sfn|Unterberger|2006|p=161}}}} In a 1987 interview, Harrison said that ''Electronic Sound'', like the Lennon–Ono album, was an example of Zapple's ethos of "let[ting] serendipity take hold" rather than a formal creative work.{{sfn|White|1987|pp=56–57}}