519:) in November 1969. The cover photo by Janet Shankman (Williamson's future wife) featured all four band members, for the first time as a group, perched in a tree, grinning, to express a lighter mood. The album's back cover offered lyrics to "Creation", and individual song credits. Inside there is original artwork by Williamson on the left side, and Heron on the right. Lyrics for "White Bird" are assorted into Heron's artwork. A single, "Big Ted" b/w "All Writ Down", was released to the UK a month prior to the album's release, but failed to chart. The "Big Ted" song featured on the single was an edited version of the album track. Single releases were a relatively rare occurrence for the band who only issued two others up to that point. The album was more financially successful than its predecessor, and on the
339:. "White Bird" expresses the members' changing views in a shift that would affect the band's musical direction in the next decade. The creative differences between Heron and Williamson also continued with the album. Heron wrote two tracks while Williamson penned four on the album, but, in the first occurrence featured on an ISB album, the two had joint credits on the song, "Dust Be Diamonds". The two, despite being bandmates, typically composed whole tracks individually, so as to maintain their own separate musical identity. As they progressed, the two began to have influence on another's compositions, specifically the instrumental arrangements. They also confirmed their partners
494:, Simpson was not credited as a bass player on a single track. On this album, however, Simpson was featured as playing the bass guitar on every composition that included instruments. McKechnie, for that reason, dealt with several different instruments in order to retain a presence in the studio. Two guest musicians and close associates with the ISB, Ivan Pawle and Walter Gundy, appear on the album, contributing to "Big Ted" and "Creation", respectively. Several non-vinyl compositions were also produced during recording sessions. Two tracks, "Veshengro" and "All Writ Down", later appeared on the
479:. That concept was altered slightly by the band's conversion to their new religion as they were consciously aware of creating effective communication. The recordings had an added sense of accessibility that served as a contrast to their more complex takes on themes in the group's previous compositions. Instrumentally, the band still utilized exotic instruments derived from eastern and African influences that were most evident on the album's two longest tracks. Complexity, too, highlighted the instrumentals though the multi-tracking was not as heavily employed or necessary as on past efforts.
452:, encouraged unique musical compositions. Williamson later praised Boyd saying, "He used to just sort of get you in there. And if you said to him, 'Well I would like such and such' he would get it for you. But otherwise, just let you get on with it". Boyd, noticing the group's change and potential faults, attempted to intervene, but, in the end, continued allowing the band to develop their new concepts. Another major production member was
283:
278:
273:
268:
263:
374:. The ISB was one of the top folk groups in the UK, and, despite respectable chart listings, the album was generally received as a disappointment in comparison to the band's earlier work. Still, "Creation" and "White Bird" are deemed to be instrumental, and lyrical highlights of the band's music catalogue as they displayed several of the group's strengths.
444:, returned for the album. Boyd was flexible with the group's creative development, and rarely interfered with their process. His approach to the ISB's output was to allow them to decide what material appeared on the final product as Boyd, who also produced other extravagant acts like
332:). The album saw the group continuing their use of unique instruments while integrating a standard musical structure. In addition, the album is seen as a transitional period in which the ISB shifted in musical textures, including early utilization of electric-based instruments.
464:. The studio initially included only basic recording equipment not yet able to showcase the band's full musical inventiveness. By their third album, the facilities held 16-tracks, allowing the group to overdub and jump tracks to generate their multi-instrumental sound.
386:. Now a four-piece band, with McKechnie and Simpson officially in the fold, the ISB improved in their communication with their audience, an aspect they attempted to improve upon after their conversion to Scientology. The band undertook extensive studies of
1193:
31:
1197:
422:
was involved in the proceedings. This trend came full circle for the band in recordings of the following decade. The group, despite all the changes, still held some aspects of the
1531:
558:
release in 1993. The CD version included a 16-page liner note booklet, along with a complete set of lyrics for all the tracks. In
September 2002, a single disc distributed by
486:
duties. Another surprising development resulting from the album was
Simpson's emergence as a prominent member in the sessions after improving upon her capability on the
410:
established more coherent tracks with an almost specified meaning. The album, in some sorts, is noted as the band's transitional period from psychedelic folk to
398:
reflected upon these developments and their abstinence from the use of drugs, which did not change the group's complexity, but the structure differed from the
1608:
1705:
1524:
406:, and earlier efforts, had a basis of producing compositions where the message would vary, depending on the individual's perception of it, while
1341:
1148:
475:. Lyrically, the compositions went in the same vein as earlier developments regarding perceptions and interpretations of life, religion, and
467:
Recording took place on an intermittent basis in between gaps in the ISB's summer touring schedule. Much of their recording was completed in
1715:
1615:
1517:
364:
1650:
1601:
496:
1657:
1383:
1643:
1710:
1502:
358:. The two songs comprise more than half of the 50 minute length of the album; lyrics are given only for the pair of songs.
559:
482:
With McKechnie and
Simpson sharing larger roles in the band, they too were performing, instrumentally, along with their
453:
1678:
1246:
1540:
318:
154:
43:
1105:
531:, spending three weeks on the charts. Despite the band's effort to experiment musically, it has been cited that
1622:
370:
167:
1566:
1408:
936:
525:
it peaked at number 30 before dropping off the charts in a week. In the US it reached number 166 on the
336:
1482:
347:
had upheld larger roles in the band. This, along with the album cover, assembled the official quartet.
1700:
1050:
445:
1584:
1574:
852:
536:
394:
as a way of self-analyzing themselves, and their religious conversion was a part of the process.
340:
1433:
1302:
1498:
1337:
1144:
411:
1168:
1077:
335:
This album also marks the point when the band openly gave up the use of drugs and joined the
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609:
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98:
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134:
74:
1219:
483:
457:
203:
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989:
928:
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775:
527:
472:
430:. As Heron later confirmed, "the album which marked our conversion, if you will, was
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82:
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129:
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185:
90:
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103:
30:
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919:
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500:
soundtrack in 1971, but numerous songs have yet to be released officially.
1254:
1029:
836:
437:
255:
147:
1021:
382:
The
Incredible String Band spent much of 1969 touring in the UK and the
757:
1483:
Chart
Archive - Incredible String Band(Link redirected to OCC website)
782:
512:
362:
comes after the success the band achieved in 1968 with their albums,
78:
867:
829:
764:
750:
569:
535:
was a missed opportunity after their public media exposure at the
310:
38:
511:
was released on the
Elektra label (catalogue number EKS-74057 on
1513:
350:
The album is dominated by two lengthy tracks, "White Bird", by
724:"Big Ted" b/w "All Writ Down" (Elektra 45074) October 1969, UK
1384:"Incredible String Band - Be Glad for the Song Has No Ending"
426:
such as their way of communal living at their farmhouse in
562:
featured the album along with the band's 1970 album,
568:. Two further re-releases were issued in the US and
1593:
668:
657:
597:
586:
202:
153:
141:
128:
112:
89:
66:
58:
50:
37:
23:
18:
1303:"John Wood: From Pink Floyd to the McGarrigles"
471:, except for "Big Ted", which was recorded in
1525:
1220:"Robin Williamson interviewed 13 August 1979"
1140:Be Glad: An Incredible String Band Compendium
1053:(30 April 1970). "The Incredible String Band
8:
1609:The 5000 Spirits or the Layers of the Onion
1325:
1323:
321:(ISB), and was released in November 1969 on
260:
1532:
1518:
1510:
1373:Changing Horses - Vinyl back cover credits
1162:
1160:
235:
29:
20:
1333:The Incredible String Band: Gently Tender
1078:"The Story of the Incredible String Band"
1369:
1367:
1100:
1098:
947:
651:
580:
1072:
1070:
1012:
418:influences. On the album's tracks, the
241:
7:
1143:. Helter Skelter. pp. 131–133.
1132:
1130:
1128:
1126:
1651:Be Glad for the Song Has No Ending
1409:"Incredible String Band - Big Ted"
1336:. Agenda Limited. pp. 45–49.
641:Heron (music), Williamson (lyrics)
497:Be Glad for the Song Has No Ending
14:
1706:The Incredible String Band albums
1658:Liquid Acrobat as Regards the Air
262:
1616:The Hangman's Beautiful Daughter
1434:"A Little Upstate Folk Festival"
1330:Brooks, Ken (28 February 1998).
365:The Hangman's Beautiful Daughter
281:
276:
271:
266:
261:
1278:"Robinson Williamson Interview"
1495:Joel Whitburn's Top Pop Albums
658:
587:
1:
1679:Hard Rope & Silken Twine
1459:"Changing Horses - Reissues"
1169:"Changing Horses - Overview"
1000:
997:
981:
978:
490:. Prior to the recording of
1716:Albums produced by Joe Boyd
81:, Elektra Records Studios,
1732:
1602:The Incredible String Band
1541:The Incredible String Band
1137:Whittaker, Adrian (2003).
1063:. No. 57. p. 54.
560:Collector's Choice Records
550:was reissued to the UK by
319:the Incredible String Band
155:The Incredible String Band
44:the Incredible String Band
1547:
701:
687:
673:
665:
662:
634:
618:
602:
594:
591:
249:
246:
230:
213:
198:
161:
28:
1623:Wee Tam and the Big Huge
1194:"Incredible String Band"
371:Wee Tam and the Big Huge
168:Wee Tam and the Big Huge
1360:(CD liner notes). 2006.
572:on September 20, 2006.
1711:Elektra Records albums
440:, the band's longtime
222:Released: October 1969
1497:, 1955-1996; p. 366.
937:Dr. Strangely Strange
935:(appears courtesy of
539:earlier in the year.
354:, and "Creation", by
337:Church of Scientology
1276:Richie Unterberger.
1057:> Album Review".
913:Additional musicians
237:Professional ratings
654:
583:
446:Fairport Convention
238:
1585:Malcolm Le Maistre
1575:Licorice McKechnie
853:Licorice McKechnie
813:, electric guitar
809:, acoustic guitar
770:, electric guitar
741:, acoustic guitar
677:"Sleepers, Awake!"
652:
638:"Dust Be Diamonds"
581:
537:Woodstock Festival
341:Licorice McKechnie
236:
1688:
1687:
1343:978-1-899882-65-6
1251:badcatrecords.com
1167:Pemberton Roach.
1150:978-1-900924-64-1
1106:"Changing Horses"
1020:Pemberton Roach.
1005:
1004:
905:, backing vocals
881:, backing vocals
846:, backing vocals
796:, backing vocals
715:
714:
648:
647:
414:, and even early
412:British folk rock
302:
301:
234:
233:
194:
193:
1723:
1560:Robin Williamson
1534:
1527:
1520:
1511:
1505:
1493:Whitburn, Joel;
1491:
1485:
1480:
1474:
1473:
1471:
1469:
1463:makingtime.co.uk
1455:
1449:
1448:
1446:
1444:
1438:makingtime.co.uk
1430:
1424:
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1421:
1419:
1405:
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1380:
1374:
1371:
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1354:
1348:
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1327:
1318:
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1313:
1307:soundonsound.com
1299:
1293:
1292:
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1288:
1273:
1267:
1266:
1264:
1262:
1253:. Archived from
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1237:
1236:
1234:
1232:
1216:
1210:
1209:
1207:
1205:
1196:. Archived from
1190:
1184:
1183:
1181:
1179:
1164:
1155:
1154:
1134:
1121:
1120:
1118:
1116:
1102:
1093:
1092:
1090:
1088:
1082:makingtime.co.uk
1074:
1065:
1064:
1051:Von Tersch, Gary
1047:
1041:
1040:
1038:
1036:
1017:
995:6 December 1969
976:24 January 1970
948:
934:
924:
908:
904:
900:
893:
884:
880:
876:
872:
865:
858:
849:
845:
841:
834:
827:
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812:
808:
799:
795:
791:
787:
780:
773:
769:
762:
755:
748:
744:
740:
735:Robin Williamson
660:
655:
610:Robin Williamson
589:
584:
552:Hannibal Records
522:UK Albums Charts
515:, Y8K8 42037 on
469:Sound Techniques
462:Sound Techniques
416:progressive rock
356:Robin Williamson
315:psychedelic folk
313:by the Scottish
286:
285:
284:
280:
279:
275:
274:
270:
269:
265:
264:
239:
223:
220:
208:Changing Horses
163:
162:
124:
123:
119:
99:Psychedelic folk
71:Sound Techniques
33:
21:
1731:
1730:
1726:
1725:
1724:
1722:
1721:
1720:
1691:
1690:
1689:
1684:
1672:No Ruinous Feud
1630:Changing Horses
1589:
1543:
1538:
1508:
1492:
1488:
1481:
1477:
1467:
1465:
1457:
1456:
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1417:
1415:
1407:
1406:
1402:
1392:
1390:
1382:
1381:
1377:
1372:
1365:
1358:Changing Horses
1356:
1355:
1351:
1344:
1329:
1328:
1321:
1311:
1309:
1301:
1300:
1296:
1286:
1284:
1275:
1274:
1270:
1260:
1258:
1257:on 2 April 2015
1245:
1244:
1240:
1230:
1228:
1218:
1217:
1213:
1203:
1201:
1200:on 2 April 2015
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1086:
1084:
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1055:Changing Horses
1049:
1048:
1044:
1034:
1032:
1024:Changing Horses
1019:
1018:
1014:
1010:
971:UK Albums Chart
960:
955:
946:
944:Chart positions
932:
922:
918:Walter Gundy —
915:
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902:
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753:
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731:
721:
716:
649:
578:
548:Changing Horses
545:
533:Changing Horses
509:Changing Horses
506:
492:Changing Horses
442:record producer
432:Changing Horses
424:counter-culture
420:electric guitar
408:Changing Horses
396:Changing Horses
380:
360:Changing Horses
323:Elektra Records
306:Changing Horses
282:
277:
272:
267:
226:
221:
218:
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189:
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177:Changing Horses
171:
121:
117:
116:
108:
46:
24:Changing Horses
19:
12:
11:
5:
1729:
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1703:
1693:
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1507:
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1342:
1319:
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1094:
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1042:
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1003:
1002:
999:
996:
993:
984:
983:
980:
977:
974:
966:
965:
964:Weeks charted
962:
957:
952:
945:
942:
941:
940:
925:
914:
911:
910:
909:
890:— lead vocals
885:
855:— lead vocals
850:
805:— lead vocals
800:
737:— lead vocals
730:
727:
726:
725:
720:
717:
713:
712:
709:
706:
703:
699:
698:
695:
692:
691:"Mr. and Mrs."
689:
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604:
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579:
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541:
505:
502:
484:backing vocals
458:sound engineer
379:
376:
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56:
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52:
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42:
35:
34:
26:
25:
17:
13:
10:
9:
6:
4:
3:
2:
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1189:
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1111:
1107:
1101:
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1083:
1079:
1073:
1071:
1067:
1062:
1061:
1060:Rolling Stone
1056:
1052:
1046:
1043:
1031:
1027:
1025:
1016:
1013:
1007:
994:
992:
991:
990:Billboard 200
986:
985:
975:
973:
972:
968:
967:
963:
958:
953:
950:
949:
943:
938:
930:
929:Hammond organ
927:Ivan Pawle —
926:
921:
917:
916:
912:
901:, percussion
897:
889:
886:
877:, percussion
869:
862:
861:Hammond organ
854:
851:
842:, percussion
838:
831:
824:
804:
801:
792:, percussion
784:
777:
776:Hammond organ
766:
759:
752:
736:
733:
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728:
723:
722:
718:
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656:
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640:
637:
633:
629:
627:
624:
621:
617:
613:
611:
608:
605:
601:
585:
576:Track listing
575:
573:
571:
567:
566:
561:
557:
554:on its first
553:
549:
542:
540:
538:
534:
530:
529:
528:Billboard 200
524:
523:
518:
514:
510:
503:
501:
499:
498:
493:
489:
485:
480:
478:
474:
473:New York City
470:
465:
463:
459:
455:
451:
447:
443:
439:
435:
433:
429:
428:Pembrokeshire
425:
421:
417:
413:
409:
405:
401:
397:
393:
389:
385:
384:United States
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293:Rolling Stone
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1580:Rose Simpson
1567:Clive Palmer
1565:
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1466:. Retrieved
1462:
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1441:. Retrieved
1437:
1428:
1416:. Retrieved
1412:
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1391:. Retrieved
1387:
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1332:
1310:. Retrieved
1306:
1297:
1285:. Retrieved
1281:
1271:
1259:. Retrieved
1255:the original
1250:
1241:
1229:. Retrieved
1223:
1214:
1202:. Retrieved
1198:the original
1188:
1176:. Retrieved
1173:allmusic.com
1172:
1139:
1113:. Retrieved
1109:
1085:. Retrieved
1081:
1058:
1054:
1045:
1033:. Retrieved
1023:
1015:
988:
969:
907:(1, 2, 5, 6)
888:Rose Simpson
883:(1, 2, 5, 6)
794:(1, 2, 3, 5)
622:"White Bird"
563:
556:compact disc
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39:Studio album
15:
1701:1969 albums
1637:I Looked Up
1413:discogs.com
1388:discogs.com
1282:furious.com
1110:discogs.com
899:(1-3, 5, 6)
896:bass guitar
565:I Looked Up
488:bass guitar
186:I Looked Up
62:Summer 1969
1695:Categories
1553:Mike Heron
1503:0898201179
1035:10 January
1008:References
931:and piano
823:vibraphone
803:Mike Heron
763:, chinese
708:Williamson
705:"Creation"
694:Williamson
626:Mike Heron
450:Nick Drake
392:philosophy
378:Background
352:Mike Heron
298:(Positive)
157:chronology
1665:Earthspan
1225:Angelfire
961:position
920:harmonica
873:, guitar
864:(2, 3, 5)
848:(1, 5, 6)
788:, violin
729:Personnel
666:Writer(s)
606:"Big Ted"
595:Writer(s)
477:mythology
454:John Wood
219:"Big Ted"
1468:12 March
1443:10 March
1418:11 March
1393:10 March
1261:11 March
1204:11 March
1087:17 March
1030:Allmusic
837:mandolin
817:, piano
745:, piano
739:(1, 3-6)
543:Reissues
438:Joe Boyd
256:Allmusic
148:Joe Boyd
143:Producer
59:Recorded
51:Released
41: by
1312:2 April
1287:2 April
1231:2 April
1178:9 March
1115:9 March
758:sarangi
517:8-track
504:Release
404:Wee Tam
402:album.
400:Wee Tam
317:group,
204:Singles
190:(1970)
181:(1969)
172:(1968)
135:Elektra
75:Chelsea
1594:Albums
1501:
1340:
1147:
951:Chart
871:(3, 6)
844:(5, 6)
815:(1, 5)
811:(2, 3)
807:(2, 4)
783:gimbri
743:(5, 6)
719:Single
669:Length
653:Side B
598:Length
582:Side A
513:stereo
250:Rating
247:Source
113:Length
79:London
67:Studio
956:date
954:Entry
868:kazoo
830:sitar
765:banjo
751:flute
711:16:04
680:Heron
663:Title
630:14:46
592:Title
570:Japan
311:album
206:from
137:/ WEA
130:Label
91:Genre
1499:ISBN
1470:2015
1445:2015
1420:2015
1395:2015
1338:ISBN
1314:2015
1289:2015
1263:2015
1233:2015
1206:2015
1180:2015
1145:ISBN
1117:2015
1089:2015
1037:2012
998:166
987:The
959:Peak
697:4:54
683:3:44
644:6:14
614:4:21
448:and
390:and
368:and
343:and
104:folk
85:, NY
1247:"B"
979:30
933:(6)
923:(1)
903:(6)
892:(4)
879:(6)
875:(1)
857:(4)
840:(6)
833:(6)
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819:(1)
798:(2)
790:(6)
786:(6)
779:(3)
772:(3)
768:(2)
761:(2)
754:(2)
747:(1)
659:No.
588:No.
460:at
434:".
327:see
1697::
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1366:^
1322:^
1305:.
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1159:^
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1001:3
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894:,
866:,
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635:3.
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603:1.
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325:(
120::
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