Vinyl L.P - Dandelion Records - DAN 802.
1971 - U.K.
Sleeve design, photos (S. Thorgerson): HIPGNOSIS.
Back cover
Gatefold
Inner gatefold
Labels: "Side Three" & "Side Four"
Principal Edwards Magic Theatre
Martin Stellman - Vocals.
Vivienne McAuliffe - Vocals.
Belinda Bourquin - Piano, vocals, violรญn.
Root - Guitars, bass.
Roger Swallow - Guitar, tabla, drums, percussions.
Jeremy Ensor - Bass.
David Jones - Drums, percussions.
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It existed between 1968 and 1971, after which core members formed a more conventional rock band under the shortened name Principal Edwards.
The collective was formed by students at the University of Exeter, who had originally intended producing an arts magazine.
The initial musicians were Root Cartwright (guitar, mandolin, songwriter), Belinda "Bindy" Bourquin (violin, keyboards, recorder), David Jones (vocals, percussion), Jeremy Ensor (bass), Martin Stellman (vocals), Lyn Edwards (drums), and Vivienne McAuliffe (vocals).
Dancers included Gillian Hadley (choreographer), John McMahon Hill, Eva Darlow and Monica Nettles, while Les Adey, Harry Housman and Chris Runciman were responsible for sound, lighting, props and effects.
The name was taken from the Magic Theatre referenced in Hermann Hesse's novel Steppenwolf, and from Principal Thomas Charles Edwards, a theologian who was the first Principal of the University College of Wales, Aberystwyth and an ancestor of Lyn Edwards. According to Cartwright, the name had "no religious overtones, we just thought [it] sounded neat."
In 1970, they recorded their second album, The Asmoto Running Band, produced by Nick Mason of Pink Floyd, and named for an in-joke about a roadie's poorly-written comment that they should aspire to being "a smooth running band".
It was released by Dandelion in January 1971; according to Cartwright, the first side of the LP was "a green concept album, in a tongue-in-cheek sort of way."
They won a residency at the Hampstead Theatre Club in London, but there were differences over future direction.
The original collective split up in December 1971, according to Cartwright as a result of "serious tensions between fringe theatre and rock priority, together with business hassles."