condition (record/cover): G (side A has the rash often present as pressing fault in blue label records in the series, side B has no rash but surface noise throughout) / VG (light wear and sticker removal damage) Silver foil front, white back sleeve. Blue labels.  Concert Collectif on Philips presents the Groupe de Recherches Musicales as collective rather than collection of individuals. The GRM sometimes functioned this way: composers pooling resources, sharing credit, submerging individual identity into group endeavor. The result sounds like neither Pierre Henry nor François Bayle nor any single author, but like the studio itself composing.

Two copies of the same release appear in the catalog, presumably reflecting different acquisitions or different pressing batches. For the collector, variations in sleeve condition or vinyl quality distinguish otherwise identical objects. For the listener, the music remains constant: GRM group-think rendered audible, institutional aesthetics made sonic.

The collective concert was ideological statement as much as artistic one. In the wake of May 1968, individual authorship seemed bourgeois; collective creation promised revolutionary alternative. Whether the music fulfilled these promises is another question. What's certain is the attempt, the willingness to subordinate ego to group, signature to institution.