![]() ![]() Photograph: K & K Ulf Kruger OHG/Redferns ![]() Noel Redding, left, with Jimi Hendrix and Mitch Mitchell, in 1967. It never lasts long, it’s soon commoditised and exploited and imitated and it dissipates again until the next time it pops up elsewhere.” Writing Utopia Avenue, Mitchell became especially interested in Brian Eno’s concept of “scenius” – the idea that a grouping of artists in a particular place at a particular time “can have a genius, where marketing arrangements, business models and of course a pool of hungry young talent in tune with the zeitgeist, just the few times in history, it all comes together perfectly. This idea that you curate songs and make a musical journey out of them – imagine being in a year when that gets invented, and now there are lots of them, popping up like mushrooms when the perfect cultural combination is right, when the conditions are right.” Nothing comes from nowhere, just like the novel, but it’s a strong contender for the first of its kind. The album as an art form, rather than just as a convenient way to store singles and lesser tracks, kind of gets invented by Sgt Pepper’s. Sure, and? “Things were happening for the first time. Well, says Mitchell, the music was great. ![]()
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