To complement the recent re-release of our 1975 album Paramusic, we’ve also re-released our 1976 second album ‘Circuitry’ in full too.
Like Paramusic, Circuitry was originally a self-released, self-recorded cassette album, sold only at Red Square gigs.
This is the first and only complete re-release of Circuitry in over forty five years*.
The album is a recording of our set from a 1976 arts festival concert in Southend, where we supported Henry Cow and Lol Coxill.
This complete re-release has been newly edited and mastered by me from digital transfers of the original stereo reel to reel master tapes.
The front cover of this release is a facsimile of an original 1976 Circuitry cassette.
The original order of tracks has been preserved, but I’ve edited out all of the between-tunes applause apart from after the very last track, where you can hear a bemused local radio compère, clearly totally at sea with the kind of music he was hearing, say ‘well there we are, ladies and gentlemen; Red Square’. The term became a favourite catch phrase of ours; the common expression, ‘well, there we are’, once spoken being inevitably rejoined with ‘ladies and gentlemen; Red Square’.
By 1976 Red Square was probably at its zenith as a power-improv trio. We had retained our commitment to total improvisation, but the violin, soprano sax, toys, bells & whistles that were present on Paramusic had all been discarded. I was by this time playing (amplified) bass clarinet exclusively. It was still a pretty unusual instrument in 1976. There was a very small roster of well-known players (John Surman, Eric Dolphy), and there was me. I frequently spent some time post gigs explaining to interested parties that, no, the instrument actually wasn’t a really unusual sounding, weird-looking type of sax, but was, in fact, an unusual sounding, weird-looking type of clarinet stuck through a very big speaker via a Reed-mounted Barcus Berry transducer.
The first piece in our set that evening, Circuitry 1, began with a taped playback of Paramusic 1, into which we planned to gradually interweave our live instruments. However, the sound engineer took some moments to get the levels balanced, so please note that there is a distinct increase in volume around the 2:50 mark!
One of my favourite things about these recordings is that every so often you can hear children’s voices in the audience talking (and facing-off!) in the quieter sections. One of the children is Roger’s son, Jake, who grew up to be a much in demand, London-based sax player. He also regularly guested with us in a much later project called Single Field.
Circuitry is available as a digital download or CDr from Bandcamp.
*Five of the six tracks (2, 3, 4, 5 & 6) have been included on either the ‘Thirty Three’ (2008) or ‘Rare & Lost’ (2016) compilation albums.
Jon Seagroatt 