Editing Electronic Sound (section)

==Influence and legacy==
''Electronic Sound'' was one of the first electronic music albums made by a rock musician.{{sfn|The Editors of ''Rolling Stone''|2002|p=187}} Oregano Rathbone of ''[[Record Collector]]'' called it "intriguingly indulgent, avant-Moog" and said that, as with ''Wonderwall Music'', "The example set by the [Beatles] – that there's room for everything under the pop umbrella – legitimised and enabled an infinite variety of music from everyone's subsequent favourite bands."<ref>{{cite magazine|first=Oregano|last=Rathbone|url=http://recordcollectormag.com/reviews/apple-years-1968-75 |title=George Harrison – The Apple Years 1968–75|magazine=[[Record Collector]]|date=December 2014|archive-url=https://web.archive.org/web/20141110161744/http://recordcollectormag.com/reviews/apple-years-1968-75 |archive-date=10 November 2014|access-date=1 August 2018}}</ref> In his book ''Electronic and Experimental Music'', Thom Holmes discusses ''Electronic Sound'' in terms of its influence on the Beatles' ''[[Abbey Road]]'' and, with that album, their standing as "one of the first groups to effectively integrate the sounds of the Moog into their music".{{sfn|Holmes|2012|p=446}} Once installed at EMI Studios in August 1969, where [[Mike Vickers]] of the band [[Manfred Mann]] assisted in programming the system,{{sfn|Holmes|2012|pp=442, 446}} Harrison's Moog proved to be an important addition to the Beatles' final recording project.{{sfn|Shea|Rodriguez|2007|p=179}}{{sfn|Lewisohn|2005|p=185}} With Harrison, Lennon and [[Paul McCartney]] each playing the instrument, the band incorporated white noise and other Moog sound effects,{{sfn|Brend|2012|pp=204–05}} together with melodic elements played via the ribbon controller.{{sfn|Holmes|2012|pp=446–47}}{{refn|group=nb|Harrison later used portions of white noise from "No Time or Space" in "I Remember Jeep", a track included on the ''Apple Jam'' disc of his 1970 triple album ''[[All Things Must Pass]]''.{{sfn|Rodriguez|2010|p=12}}}} In January 1970, [[Robert Moog]] announced the launch of his company's [[Minimoog|Mini-Moog]],<ref name="Dove/BB" /> a synthesizer that simplified the 3P system for easy operation as a performance instrument.{{sfn|Prendergast|2003|pp=85–86}}{{refn|group=nb|Moog told ''[[Billboard (magazine)|Billboard]]'' that [[Mick Jagger]] and George Martin also owned Moog 3Ps and that the BBC's Radiophonic Workshop was due to purchase one, but that the cost was prohibitive for musicians such as Vickers, who instead had to rent his system.<ref name="Dove/BB">{{cite magazine|first=Ian|last=Dove|title=Mini-Moog to Be Unveiled|magazine=[[Billboard (magazine)|Billboard]]|date=24 January 1970|pages=1, 98}}</ref>}}

{{quote box|quote= ''Electronic Sound'' has never achieved mainstream popularity, even for a Beatle-solo record … While rough and unconstructed, it is a very distinctly "Moog" album, with very few other audible sound sources, and a wide variety of Moog modular sonics being demonstrated.  Although the wild experimental phase of the Beatles only lasted a short time, it was a bold direction for anyone in the top of the charts to attempt, even as a side-project.<ref>{{cite web|archive-url=https://web.archive.org/web/20150106021457/https://www.moogmusic.com/news/george-harrisons-electronic-sound|url=https://www.moogmusic.com/news/george-harrisons-electronic-sound |title=George Harrison's 'Electronic Sound'|publisher=[[Moog Music|moogmusic.com]]|date=10 September 2014|archive-date=6 January 2015|access-date=25 July 2017}}</ref>|source=– [[Moog Music]], 2014|width=25%|align=left|style=padding:8px;}}
In their book on the history and legacy of the Moog synthesizer, [[Trevor Pinch]] and Frank Trocco cite Harrison's use of Krause's studio demonstration as an example of the difficulties faced by "Moogists" such as Beaver and Krause in gaining acceptance for their efforts. The authors write that the perception in the recording industry during the late 1960s was typically that, because of the highly technical aspect of the Moog modular system, these pioneers were simply engineers rather than artists or musicians. Pinch and Trocco highlight Mort Garson's ''[[The Wozard of Iz]]'' and [[Mason Williams]]' ''The Mason Williams Ear Show'' as further examples; in the case of the latter album, Beaver was credited as being "in charge of plugging and unplugging".{{sfn|Pinch|Trocco|2002|p=125}}

''[[Hartford Courant]]'' music critic Roger Catlin has said that the album's appeal is limited to aficionados of "early synthesizer experiments".{{sfn|Graff|Durchholz|1999|pp=xvi, 529}} [[Malcolm Cecil]], who went on to become a leading synthesizer proponent as the co-creator of [[TONTO]],<ref>{{cite web|url=http://www.allmusic.com/artist/tontos-expanding-head-band-mn0001377562|first=Steven|last=McDonald|title=T.O.N.T.O.'s Expanding Head Band|publisher=[[AllMusic]]|access-date=29 July 2017|archive-date=16 August 2016|archive-url=https://web.archive.org/web/20160816160944/http://www.allmusic.com/artist/tontos-expanding-head-band-mn0001377562|url-status=live}}</ref>{{sfn|Prendergast|2003|p=308}} recalls that when he first encountered a Moog 3P, his immediate thought was: "Geez, this is the [instrument] that George Harrison made that record on. I'm looking at it, and I saw it has filters, envelope generator – what the hell is all this stuff?"{{sfn|Pinch|Trocco|2002|pp=174–75}} Tom Rowlands of [[the Chemical Brothers]] has cited ''Electronic Sound'' as an influence.<ref>{{cite AV media notes|first=Kevin|last=Howlett|title=[[The Apple Years 1968–75]]|others=[[George Harrison]]|p=32|year=2014|type=box-set book, "The Apple Years" |publisher=[[Apple Records]] }}</ref> In his introduction to the 2014 CD booklet, he recalls discovering a rare copy of the LP in a Tokyo record shop in the 1990s and says that the sleeve "now hangs on the wall of my studio, just next to my own Moog modular, beaming inspiration straight to my brain".<ref>{{cite AV media notes|first=Tom|last=Rowlands|title=Electronic Sound|others=[[George Harrison]]|p=3|year=2014|type=CD booklet, "An Introduction"|publisher=[[Apple Records]] }}</ref>

In 2003, ''Electronic Sound'' was featured in the "Unsung" album series at musician and musicologist [[Julian Cope]]'s website ''[[Head Heritage]]'',<ref name="HeadHeritage" /> later compiled in Cope's book ''Copendium: An Expedition into the Rock 'n' Roll Underworld''.<ref>{{cite news|first=Roddy|last=Doyle|url=https://www.irishtimes.com/culture/books/the-art-of-noise-1.556541|title=The Art of Noise|newspaper=[[The Irish Times]]|date=24 November 2012|accessdate=3 February 2021|archive-date=26 January 2021|archive-url=https://web.archive.org/web/20210126201616/https://www.irishtimes.com/culture/books/the-art-of-noise-1.556541|url-status=live}}</ref><ref>{{cite magazine|first=Toby|last=Litt|url=https://www.newstatesman.com/culture/culture/2012/11/julian-cope-and-psychic-underworld|title=Julian Cope and the Psychic Underworld|magazine=[[New Statesman]]|date=8 November 2012|accessdate=3 February 2021|archive-date=7 February 2021|archive-url=https://web.archive.org/web/20210207110144/https://www.newstatesman.com/culture/culture/2012/11/julian-cope-and-psychic-underworld|url-status=live}}</ref> The author said he relished the record for providing "all the scant moments of raging Moog-osity I always craved more of as a teenage [[Emerson, Lake & Palmer]] fanatic", and described its two tracks as "aural rollercoaster rides, featuring alarming and unusual zapping twists over an assortment of tone colours, pitch-controlled hi-jinks and outright experimentalism in the most extreme album Harrison would ever produce".<ref name="HeadHeritage">{{cite web|url=http://www.headheritage.co.uk/unsung/thebookofseth/george-harrison-electronic-sound|author=The Seth Man|title=Unsung: George Harrison – Electronic Sound|website=[[Head Heritage]]|date=January 2003|accessdate=26 July 2017|archive-date=1 June 2016|archive-url=https://web.archive.org/web/20160601024134/http://www.headheritage.co.uk/unsung/thebookofseth/george-harrison-electronic-sound|url-status=live}}</ref>