Even so, at this early stage in its development, there are more "normal" instrumental sounds with a conceptual basis in either jazz or classical music than there would be later on. Lou Gare's tenor saxophone wrings out occasional avant-garde peals that wouldn't have sounded too out of place in Sun Ra's band of the period, and Prevost's drumming shares some affinities with the energy players of the day. Similarly, Cornelius Cardew's piano and Lawrence Sheaff's cello sometimes refer to this or that modern classical tradition. But the overall sound of the group, even in 1966, was so different, so idiosyncratic, that it's not at all surprising that both new jazz and contemporary classical audiences were baffled, if not horrified. The experimentation in sonic assault, noise, and chance sound (including transistor radios) would, however, reach the rock fringes (as Prevost points out) in the work of '60s bands like Pink Floyd as well as later industrial groups like Test Dept. and the Jesus and Mary Chain. But the palpable thrill of producing such music at the time is unique to AMM. The group's sonic conception in its totality is so enveloping and comprehensive that, once heard, it becomes impossible to hear music the same way again. Recent devotees of electronica, free improv, industrial, and noise bands owe it to themselves to check out their primary source: AMM. Brian Olewnick, All Music Guide
Keith Rowe: guitar, transistor radio
Eddie Prévost: percussion
Lawrence Sheaff: cello, accordion, clarinet, transistor radio
Cornelius Cardew: piano, cello, transistor radio
Recorded in 1966 in London. Originally released in 1967. Re-released in 1989.
Tracks 2 & 6 are from the 1967 LP, and are shorter edits of tracks 1 & 5 .
Tracks 3, 4 & 7 are from the same sessions, previously unreleased.