Walter Carlos ‎– Switched-On Bach

Columbia Masterworks ‎– MS 7194
Vinyl, LP, Album, Stereo, 2nd Cover


A1 Sinfonia To Cantata No. 29 3:20
A2 Air On A G String 2:27
A3 Two-Part Invention In F Major 0:40
A4 Two-Part Invention In B-flat Minor 1:30
A5 Two-Part Invention In D Minor 0:55
A6 Jesu, Joy Of Man's Desiring 2:56
A7 Prelude And Fugue No. 7 In E-Flat Major 7:07
B1 Prelude And Fugue No. 2 In C Minor 2:43
B2 Chorale Prelude "Wachet Auf" 3:37
Brandenburg Concerto No. 3 In G Major
B3 First Movement 6:35
B4 Second Movement 2:50
B5 Third Movement 5:05

Companies, etc.



This release is from 1968-70 and is a Second pressing with gray labels and "⟵360 SOUND” STEREO “360 SOUND⟶" in white text. Essentially the same vinyl pressing as the First pressing Switched-On Bach which came in a different cover with "Bach" sitting on the bench. Often referred to as the "Constipated Bach" version. These were quickly pulled and replaced with standing version (seen here) per this release.

Some pressings came with numbered Columbia masterworks liner. (see image)

Later (1970-90) reissue editions have darker olive/gray labels with gold "Columbia Masterworks" around border with black text.

Covers with a UPC code printed are Switched-On Bach

Printed in U.S.A.

Tracks A7, B1 (from Book 1 of "The Well-Tempered Clavier")

The selections are in the public domain.

This album was devised and produced by Trans-Electronic-Music Productions, Inc.

Special thanks to Mary, Hilda and Florence.

May come with a sticker on shrink-wrap with praise from various music press, as well as from Glenn Gould.

Barcode and Other Identifiers

  • Other (Library of Congress catalog card no.): R68-3516
  • Matrix / Runout (Label, Side A): XSM 137961
  • Matrix / Runout (Label, Side B): XSM 137962
  • Matrix / Runout (Variant 1, Side A, stamped, exc. 1): 0 XXSM137961 2AD 1
  • Matrix / Runout (Variant 1, Side B, stamped, exc. S and 6): P X 0 XXSM137962 2AB S C 6
  • Matrix / Runout (Variant 2, Side A, stamped): XSM137961-2E
  • Matrix / Runout (Variant 2, Side B, stamped): XXSM137962-2H
  • Matrix / Runout (Variant 3, Side A, stamped, exc. 12 and B7): 0 XXSM137961 2B 12 B7
  • Matrix / Runout (Variant 3, Side B, stamped, exc. S and B7): 0 XXSM137962 2C S B7
  • Matrix / Runout (Variant 4, Side A, stamped): 0 XSM137961-2E P C 1
  • Matrix / Runout (Variant 4, Side B, stamped): 0 XXSM137962-2G .P D 5
  • Matrix / Runout (Variant 5, Side A, stamped): XSM137961-2E P C 2
  • Matrix / Runout (Variant 5, Side B, stamped): XXSM137962-2G P A 3
  • Matrix / Runout (Variant 6 Side A stamped): XXSM137961 2AB P
  • Matrix / Runout (Variant 6 Side B stamped): XXSM137962-2AB 1 P

Other Versions (5 of 88) View All

Cat# Artist Title (Format) Label Cat# Country Year
MS 7194 Walter Carlos Switched-On Bach(LP, Album, 1st) Columbia Masterworks MS 7194 US 1968 Sell This Version
5492 Walter Carlos Bach Electronico(LP, Album) CBS 5492 Argentina 1968 Sell This Version
MS 7194 Walter Carlos Switched-On Bach(LP, Album, RP, Pit) Columbia Masterworks MS 7194 US 1970 Sell This Version
63501, S 63501, MS 7194 Walter Carlos Switched-On Bach(LP, Album, Lam) CBS, CBS, CBS 63501, S 63501, MS 7194 UK 1968 Sell This Version
SBR 475198 Walter Carlos Switched-On Bach(LP, Album, RE) CBS SBR 475198 New Zealand Unknown Sell This Version


Reviews Show All 5 Reviews

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April 15, 2014
strange no details of this release at all.


February 26, 2012
edited over 8 years ago
Sure, it's a non conventional interpretation of Bach.
But in fact, he further claims "the suitability of the textural clarity inherent in synthesized electronic sounds, to enhance the Baroque traits of crisp sonority, terraced dynamics and the high relief of different voices" (as perfectly write Peter Gutmann).
As an admirer of Bach and Moog music, it's perfect record. Even if the gap is extremely large, and the experience disturbing, between the majesty of the compositions and the funny connotation of Moog sounds.

Stanley Kubrick, after listening to this success release, decided to work with Carlos for his masterpiece "A clockwork Orange", and find the perfect resonance to his images, the perfect strange mix this music create in minds.


July 13, 2010
Personally me, I find the whole W. Carlos ouvre taste-less. He once was a great pioneer, and one of the first working entirely on such modulars but I don't like his/her albums. Lack of real spice, good sonic timbres and spirit of all. Very well done and pioneer job. But somehow I never have any intentions to listen any. I prefer ISAO TOMITA. His conception comes dreivative from W.C. but he went much further: each, every tunes and timbres are wonderfully charactheristic, deep, empotional, or funny, yet very grandioso and dramatic. Tomita IS the man at the field of analog modulars. He playes almost everything like no-one else. As a Debussy, Ravel and Bach -collector, I must say: he plays all exceptionally good, and the same time he has an incredible sonical and personal character what W.C. absolutely lacks of. W.C. is one of the most important name but if it comes to enjoy the music, only ISAO TOMITA comes in question. For me W.C. almost uninteresting even if I have a very huge collection of electronic music and I'm very much into the synthesis also. By now, I know the value of all...


March 26, 2010
the labels for this issue shown here are the repress issues and should be moved to the repress release page. Original labels are medium gray with white lettering around edges with 360 sound, stereo, 2-eye, and black print for titles/artists.


March 12, 2002

One of the most important electronic music recordings of all time. Carlos plays the Moog like no other. This is a must if you want a comprehensive electronic music education.