ATTENTION GLASS FANS!! I recently came across the REMASTER of the famous Glass recording "The HHR Tape," taken directly from the original 16-track master done at Holden Hamilton Roberts Studios in Seattle. This was one of our earliest and best professional studio recordings. These three songs add up to 23 minutes of music and are a great, fresh new way to hear 3 classic Glass songs from our debut album.

These recordings are an important part of Glass history. The HHR Tape is what Jeff took to London (and Erik took to Denmark) in the summer of 1975 to try to raise some interest in Glass. "In London, I was able to track down famed Soft Machine producer Sean Murphy. It was he who informed me that not only was it unlikely a British management company or label would be forthcoming with the estimated $20,000 advance Glass had figured it would take to move ourselves and our families to Europe, but also that the economic climate in England (and Europe for the most part) was such that all the music producers, personal agents and managers were endeavoring to break their acts in The States. In fact, the US was looked at by promoters there as the Mecca of success to be “pilgrimaged” to until your artists either became a household word or, like the original lineup of Soft Machine did (after two extended tours supporting Jimi Hendrix), disband in disgust. In short, they thought we were nuts!”
-J.S.

"Erik returned some weeks later with similar results. The people that heard the Glass HHR Tape were impressed but there was just no money anywhere to embark on the kind of enterprise Glass had envisioned as a result of the trip. “We ended up further in debt and disillusionment. The idea that perhaps someone WASN'T going to “discover us” now loomed as a very real possibility in the peripheral of the band's collective insecurity.” - Jeff
-A.J. Charron/Guitar Noise
www.guitarnoise.com/blog/glass-interview/

This mini-album features the original HHR Tape done in 1975... plus some REMIXES done in 1995, twenty years later, from the original 16-track masters. How these came about was this. Paul Black and I were working at Michael Lord Productions in Seattle on the Jeff Joad & The Joads song “Shine On,” which appears on the “Judgment of The Flame” album.
jeffjoad.bandcamp.com/album/judgment-of-the-flame

For some reason Michael mentioned he’d like to remix the HHR tape (don’t know how it came up). So I brought the 2-inch master to him and let him do his thing. He found all sorts of buried parts that had been mixed out in 1975 and skillfully mixed them back in.  For example, consider the song "Domino"－at 1:11 a vibraphone part was discovered which had been replaced by Rhodes in the original mix. At 3:41 some stopped-string acoustic guitar appears, and at 5:05 (4:55 in the mono mix) three 12-string guitar chords pop up. Why were these parts mixed out in 1975? We can't recall. Different engineers, different ideas.

Greg recalls:
"Not sure when Jerry quit. It was after we moved back to Port Townsend in February 1974. But not immediately after. After we moved back to P.T., we took up rehearsing in the back garage of Jerry’s neighbor (Mrs. Gregory). That’s when Jeff got the Rhodes electric piano and we started doing songs where Jeff played Rhodes on them. We did that for awhile, then Jeff got this apartment in downtown Port Townsend adjacent to the town’s beer distributor, Mr. Lundgren. 

Soon after that, we started rehearsing in a huge empty room above his beer warehouse, and we rehearsed there for quite awhile. This is all while Jerry was still in the band. The Holden, Hamilton & Roberts (HHR) recording was made during this timeframe. The result of that recording was “Give The Man a Hand,” “The Myopic Stream” and "Domino." I think you guys have the exact dates of the HHR recordings.

Jerry quit sometime after that, gave me his drum set for the money he owed me and moved to Seattle. That’s when we recruited Paul Black, who became owner of the old drum set, and we moved rehearsal out to the Arcadia barn. Our first recording with Paul was soon after that, with “Changer,” “Jadwiga” and “A Hole in Space."
-Greg Sherman
therealglass.bandcamp.com/album/the-arcadia-tapes-remastered

Erik recalls:
"My father was born in Copenhagen and I had an aunt (Jytte, Dad's younger sister) and uncle (Karlo, Dad's older brother) in Denmark at the time. Karlo's son, Gregers Bjørn Poulsen, wrote for an underground newspaper, Wheel. He was also involved with a Danish prog band named Ache (achesite.dk/achefrontengl.htm, also on Facebook). They had two popular albums (in Denmark) you can find info on, De Homine Urbano and Green Man. Gregers and I took the HHR tape around, but the general response was "why are you here?" It was such a limited market to begin with. Some communication with Gregers before I left would have saved time and money, but I had never met any of these relatives. Could have been planned better.

Several years ago a guy looking for early recordings of Ache (Gregers had been involved with recording them live) came across the Glass demo tape I left with him. Gregers had passed away by then and it was luck the lot hadn't been tossed by his girlfriend. He contacted Jeff and eventually the tape ended up back home."
-Erik Poulsen

"Which of course I still have. And now so does the world as it’s a copy of the HHR Tape. I got the same reaction in London – “What are you doing HERE?! There’s no money here to even help our own artists!" They all thought I was crazy. . . We actually had the idea of getting some English company to front us what was it? $20K so we could move ourselves to the UK!

Well, no one could claim we didn’t DREAM big. . ."
- Jeff