Their score for Roman Polanski's Macbeth film required the group to work in a somewhat more constricted format. So instead of lengthy hypnotic drones, this album's split into 16 separate pieces, some of them quite short. It's consequently not as reflective of their highest ambitions as the Third Ear Band album, and loses a bit when placed out of context from the Shakespeare classic. It still works reasonably effectively on its own, conjuring appopriately ominous Elizabethean moods, with the surprise addition of (uncredited) female vocals on one track.

Their self-titled, second album is probably their definitive statement, consisting of four lengthy tracks devoted to the primary elements ("Air," "Earth, " "Fire, " "Water"). The feeling is one of improvised (though well-conceived) pieces that build up from initial drones to multi-layered ragas built around the same initial patterns. Their strong debts to both Indian music and contemporary experimental/minimalist compositions are evident. It's not accessible enough for the average rock (or even average progressive rock) listener. But it's certainly more geared toward the adventurous rock listener than the most challenging and/or difficult contemporary avant-garde music.

THIRD EAR BAND was one of the earliest signings to EMI’s Progressive imprint, Harvest Records. The band was formed in 1968 around a nucleus of GLEN SWEENEY (percussion), PAUL MINNS (Oboe), RICHARD COFF (Violin, Viola) and MEL DAVIS (cello). Third Ear Band were unique in their exploration of exotic baroque music fused with experimental rock. Signing to Blackhill Enterprises in 1969, the quartet opened for many of the legendary Hyde Park free concerts by Pink Floyd, The Rolling Stones and Blind Faith. Their debut album, “Alchemy”, released in July 1969, was championed by legendary DJ John Peel and is regarded as one of the most striking and original works of the era with its unique gothic improvisational music.