Black Sabbath at Don Kirshners' Rock Concert Remastered

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The group members may disagree for personal reasons, but Odessa is easily the best and most enduring of the Bee Gees' albums of the 1960s. It was also their most improbable success, owing to the conflicts behind its making.

The project started out as a concept album to be called "Masterpeace" and then "The American Opera," but musical differences between Barry and Robin Gibb that would split the trio in two also forced the abandonment of the underlying concept.

Instead, it became a double LP -- largely at the behest of their manager and the record labels; oddly enough, given that the group didn't plan on doing something that ambitious, Odessa is one of perhaps three double albums of the entire decade (the others being Blonde on Blonde and The Beatles) that don't seem stretched, and it also served as the group's most densely orchestrated album.

Yet amid the progressive rock sounds of the title track and ethereal ballads such as "Melody Fair" and "Lamplight" were country-flavored tunes like "Marlery Purt Drive" and the vaguely Dylanesque bluegrass number "Give Your Best," delicate pop ballads like "First of May" (which became the single off the album), and strange, offbeat rock numbers like "Edison" (whose introduction sounds like the Bee Gees parodying Cream's "White Room"), and "Whisper Whisper" (the latter featuring a drum break, no less), interspersed with three heavily orchestrated instrumentals.

Even the seeming "lesser" numbers such as "Suddenly" had catchy hooks and engaging acoustic guitar parts to carry them, all reminiscent of the Moody Blues' album cuts of the same era. Moreover, the title track, with its mix of acoustic guitar, solo cello, and full orchestra, was worthy of the Moody Blues at their boldest.

The myriad sounds and textures made Odessa the most complex and challenging album in the group's history, and if one accepts the notion of the Bee Gees as successors to the Beatles, then Odessa was arguably their Sgt. Pepper's. The album was originally packaged in a red felt cover with gold lettering on front and back and an elaborate background painting for the gatefold interior, which made it a conversation piece.

01. "Odessa (City on the Black Sea)" 07:33
02. "You'll Never See My Face Again" 04:16
03. "Black Diamond" 03:27
04. "Marley Purt Drive" 04:26
05. "Edison" 03:07
06. "Melody Fair" 03:48
07. "Suddenly" Maurice 02:29
08. "Whisper Whisper" 03:24
09. "Lamplight" Robin 04:47
10. "Sound of Love" 03:27
11. "Give Your Best" 03:26
12. "Seven Seas Symphony" 04:09
13. "With All Nations (International Anthem)" 01:46
14. "I Laugh in Your Face" 04:09
15. "Never Say Never Again" 03:28
16. "First of May" 02:50
17. "The British Opera" 03:17

1. Odessa

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2. Odessa

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3. Odessa

1969

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Gorgeous stuff. Imagine walking down an isolated country lane and stumbling across an inviting swimming hole (you know, like one out of an old Country Time Lemonade ad or The Andy Griffith Show) and jumping in expecting pleasant relief from simple heat but instead finding the water thicker, as if somehow taking stock of your very essence; memorizing what it is that affects you, what causes you to remember a person or incident warmly, fitting so perfectly into your subconscious that initially you can't quite take in how profoundly it has actually captured all the infinitesimal things that make up who you are.

What the hell am I talking about you ask? Well, Steve Tilston does just that in musical terms with "An Acoustic Confusion". I liked it on first listen but it took four or five listens until the depth of Tilston's achievement dawned completely on me. Like my analogy of thick water, this music courses around in your heart and head until both take the full measure of the other and find the fit oddly complimentary.

The opening track, "I Really Wanted You", is one of those songs that seems so at home in your mind that it feels as if you've known it since childhood. Maybe it sheds small glimmers of light on some tucked away memories but the effect is a comforting one. Elsewhere, "It's Not My Place To Fail", features the beautifully juxtaposed vocals of Tilston and Dave Evans, and the overall effect is mesmerizing, like two aspects of the same soul just simply and honestly letting you know how it is. "Train Song" shows off some incredibly nimble, fleet fingered guitar playing from Tilston where, as he puts it in the liner notes, his guitar "tries to emulate the rhythm of a speeding train." I can confirm his attempt is evocatively successful.

Instrumentally the album is safely in the realm of the simple folk tradition, yet this music is subtly but intrinsically different in that way Vashti Bunyan differs from, say, the folk of Pete Seeger. Tilston is a surprisingly mature and inventive guitarist, vocalist and lyricist (he was only twenty when he recorded this) and the vibe is in the same tradition of Nick Drake, Al Stewart and even Don McLean, without really sounding like any of them. His voice is remarkably fully rounded and assured, forging a unique path all his own. That's why comparisons with other musicians (as several reviewers have attempted) is useful in Tilston's case only as a starting point. It really is pointless to draw out any in depth comparisons with other artists.

The seeming simplicity of these lyrics belies a depth of emotion that is much more than the obvious collection of mere words. Poetry itself can be deceptively simple while containing messages much more profound than initially assumed and the overall effect here, of acoustic guitars, the occasional harmonica, string bass and violin, with crisp voices to the fore, is a musical example of that truth.

The very human details in Tilston's words, often detailing unrequited love, a failed relationship or fond childhood memory, is made complete and fully "poetic" by the snug musical framework.

This music is thick water and if you allow it, it will take stock of you and soon thereafter you will of it in that strange swimming dance between music and listener that is a rare and special thing. Take a left turn at the next fork in the road and when you find that little placid pond--take the plunge.

♫♪ Guitar, Vocals – Dave Evans, Steve Tilston
♫♪ Violin – Pete Finch
♫♪ Harmonica, Vocals – Keith Warmington
♫♪ Bass [String Bass] – John Turner

01. I Really Wanted You 04:31
02. Simplicity 03:49
03. Time Has Shown Me Your Face 03:51
04. It's Not My Place To Fail 04:05
05. Train Time 03:39
06. Sleepy Time On Peel Street 03:51
07. Prospect Of Love 02:31
08. Green Toothed Gardener 03:29
09. Normandy Day 03:12
10. Rock & Roll Star 04:56

Bonus Tracks
11. Show A Little Kindness 05:00
12. The Price Of Love 04:17

1. Steve Tilston
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2. Steve Tilston
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3. Steve Tilston

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With his loud amplified guitar and thunderous beat, Muddy Waters reigned over the Chicago blues scene during the 1950s. Waters' sound was steeped in Delta country blues and his use of microtones, in both his vocals and slide guitar playing, was utterly distinctive. His influence over a variety of musical genres, including blues, R & B, rock 'n' roll, folk, jazz, and country cannot be overestimated. Waters became the most popular bluesman in the world and led the most outstanding band, fueled in large part by Willie Dixon, one of the most prolific and successful blues songwriters of that era. After two decades of great popularity, Waters' career was clearly in decline as the 1970s began. Although he continued recording, most notably in London, with many of the greatest rock musicians Britain had to offer, the results were less satisfying than his groundbreaking work of the 1950s.

Enter Johnny Winter, who after playing high-energy rock 'n' roll for several years, returned to his musical roots in 1977 and refocused on playing authentic blues. That same year Winter convinced his label to sign Waters, which was the beginning of a most fruitful partnership. Recorded in just two days with Winter in the producer's chair and former Waters' sideman, James Cotton, blowing harp, Waters' comeback album, Hard Again was a return to his original Chicago sound. Its raw feel harkened back to Waters' Chess Records days, and the outstanding musicianship and intimate, good time vibe led to the album exceeding all expectations, earning Waters a Grammy in the process.

Bathing in the glow of such success, Waters, Winter, and Cotton assembled a crack touring outfit that included musicians from the Hard Again sessions and for an all-too-brief time, hit the road together. The group included the renowned guitarist Bob Margolin, pianist Pinetop Perkins, and drummer Willie "Big Eyes" Smith. Cotton brought in his bassist Charles Calmese as well. With old comrade James Cotton blowing harp and Johnny Winter as his co-stars, Waters was provoked to the heights he regularly reached decades earlier. They were only together for a brief time, but this band was arguably the most impressive assemblage of blues talent ever. Everything they touched had extraordinary intensity. Selected live performances from this tour would be utilized to produce the follow-up albums, Breakin' It Up, Breakin' It Down and Muddy "Mississippi" Waters Live with enough great material left over for Legacy to later release an expanded edition of the latter with a second disc of un-issued recordings.

One of the most memorable nights of the tour occurred on March 4th, when New York City's Palladium presented this assemblage as "An Evening Of The Blues." The performance was divided into two sets with an intermission between. Johnny Winter and James Cotton, backed by this terrific band, fronted the first set. Following the break, all the musicians would return to the stage with Muddy Waters joining them and they would perform selections from Hard Again as well as choice classics from Waters vast repertoire.

The first set kicks off with Johnny Winter leading the group through a hot rendition of "Hideaway" to warm things up. James Cotton then ups the ante with the harmonica blowout, "Juke," which receives a roar of approval from the New York audience. Winter again takes lead vocals for the slow burner, "Love Her With A Feeling," and the up-tempo shuffle, "Mama Talk To Your Daughter." Winter and guitarist Bob Margolin both tear into these numbers with ferocity, but with plenty of attention to each other so that their playing is always complimentary. Like Winter, Cotton then takes the vocals for the next two, first ripping into Jackie Brenston's 1951 R & B hit, "Rocket 88," often credited as the world's first rock 'n' roll song. Cotton also delivers a driving, energetic performance of his own "How Long Can A Fool Go Wrong." These two performances may be familiar to some as alternate mixes were later issued on the Waters, Winter, and Cotton album, Breakin' It Up, Breakin' It Down

The unidentified instrumental may be the highlight of this first set. Winter and Margolin provide phenomenal intertwining leads with Cotton blowing furiously throughout. Both guitarists Cotton, and pianist Pinetop Perkins all take impressive solos. Clocking in at nearly 12 minutes, this is joyful blues improvisation at its finest and the joyful feeling is palpable on the recording. Perhaps as a preview of things to come, Johnny Winter next leads the band through a thoroughly engaging romp through "Walking By Myself." They conclude the first set with another extended slow blues jam, this time with Pinetop Perkins taking lead vocal for "Anna Lee." This eventually transforms into a catchy vamp in which all the band members are introduced and they announce that they will be back after the break. A remarkable first set, but they were just setting the stage. The best was still yet to come.

The second set kicks off with a loose vamp to introduce Muddy Waters to the already enthralled audience, eager for more blues. Continuing, they begin a nice relaxed groove on the walking blues, "Kansas City." Muddy takes his first vocal of the evening with outstanding support from Margolin, Cotton, and Perkins, with Winter just enjoying the ride and laying low. "Caldonia" begins in swinging style, propelled by Pinetop Perkins energetic piano playing and an undeniably captivating walking bass line from Charles Calmese. "Hoochie Coochie Man" lets them get down and dirty, with both Waters and Winter playing slide guitar. What it lacks in length is compensated for by its raw power. Waters next pays tribute to his friend and chief competition during the 1950s with "Howlin' Wolf," before launching into his own vintage single, "Walking Through The Park." A rousing take on "The Blues Had A Baby," featuring outstanding piano work from Perkins follows. A raw pulsating version of "Mannish Boy" is another fine example of this tight muscular band, before they bring it to a close with a roaring take on the obligatory "Got My Mojo Workin'."

The audience refuses to let them go and eventually they all return to the stage. The two-song encore begins with Johnny Winter fronting the group on the slide guitar shredfest of "Black Cat Bone" into "Dust My Broom." Few musicians have ever applied such ferocity to the Elmore James classic and the sparks are flying. This remarkable performance closes with the smoldering slow blues of "Dealing With The Devil." Cotton leads the way, but everyone gets one last chance to wail, including Winter's brother Edgar, who joins in on piano and adding his trademark vocal exclamations throughout. It's a fitting and powerful closer to one of the greatest evenings of the blues New York City has ever seen.

Muddy Waters, Johnny Winter, and James Cotton March 4, 1977
The Palladium, New York City, New York

★ Muddy Waters - Guitar, Vocals
★ Johnny Winter - Guitar, Vocals
★ James Cotton - Harmonica, Vocals
★ Bob Margolin - Guitar
★ Pinetop Perkins - Piano
★ Charles Calmese - Bass
★ Willie Smith - Drums

Set One, Johnny Winter and James Cotton with The Muddy Waters Blues Band
01. I'm Ready 03.36
02. Love With A Feeling 08.22
03. Mama Talk To Your Daughter 04.58
04. Rocket 88 02.14
05. How Long Blues 09.15
06. Blues In My Sleep 11.32
07. Walking By Myself 04.47
08. Anna Lee 08.52
09. Hold It -> Band Introductions 04.21

Set Two, with Muddy Waters, Johnny Winter and James Cotton
01. After Hours -> Muddy Waters Intro 03.41
02. Kansas City 09.20
03. Caldonia 06.34
04. Hoochie Coochie Man 03.11
05. Howlin' Wolf 07.27
06. Walking Through The Park 04.43
07. The Blues Had A Baby And They Named It Rock 'N Roll 05.23
08. Mannish Boy 08.52
09. Got My Mojo Workin' 03.35

--Encore--
10. -crowd & tuning- 02.16
11. Black Cat Bone -> Dust My Broom 05.00
12. -crowd & tuning- 01.22
13. Dealin' With The Devil 08.04

1. Muddy Waters 1

2. Muddy Waters 2

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2. Muddy Waters 2

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1. Muddy Waters 1

2. Muddy Waters 2

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Comprising the same lineup as Street Corner Talking, Savoy Brown released Hellbound Train a year later. For this effort, Kim Simmonds' guitar theatrics are toned down a bit and the rest of the band seems to be a little less vivid and passionate with their music. The songs are still draped with Savoy Brown's sleek, bluesy feel, but the deep-rooted blues essence that so easily emerged from their last album doesn't rise as high throughout Hellbound Train's tracks.

The title cut is most definitely the strongest, with Dave Walker, Simmonds, and Paul Raymond sounding tighter than on any other song, and from a wider perspective, Andy Silvester's bass playing is easily Hellbound's most complimenting asset. On tracks like "Lost and Lonely Child," "Doin' Fine," and "If I Could See an End," the lifeblood of the band doesn't quite surge into the music as it did before, and the tracks become only average-sounding blues efforts.

Because of Savoy Brown's depth of talent, this rather nonchalant approach doesn't make Hellbound Train a "bad" album by any means -- it just fails to equal the potency of its predecessor. But there is a noticeable difference in the albums that followed this one, as the band and especially Simmonds himself was beginning to show signs of fatigue, and a significant decline in the group's overall sound was rapidly becoming apparent.

Hellbound Train begins slow and runs that way with but a minor speed change for the first 5 plus minutes, but it allows all the band members to enjoy the spotlight without losing any of the quality of the song. With the late Dave Bidwell’s symbols keeping the time we get a heavy dose of Paul Raymond’s organ. Paul’s biggest claim to fame came after he left the band and joined UFO.

Dave Walker voice fits in so well with the mood and tone of the song during this slow time and helps build the song up. Walker’s voice picks up around the 5:30 mark and the band members follow suit.

The biggest surprise is for a song from the early 70’s we get way past the 6 minute mark and you haven’t heard from Kim Simmonds but that is soon to change.

For the rest of the song Kim leads the band through this guitar blazing jam session that comes to a MAJOR halting end that will catch you off guard the first time that you hear the song. But by far makes up the final reason for why it’s a ride on the Hellbound Train that takes you to your abrupt ending in hell.

Personnel
★ Kim Simmonds – guitar, harmonica, vocals
★ Paul Raymond – guitar, keyboards, vocals
★ Andy Silvester – bass
★ Dave Walker – vocals
★ Dave Bidwell – drums

01. "Doin' Fine" (Andy Silvester, Kim Simmonds) – 2:46
02. "Lost and Lonely Child" (Simmonds) – 6:00
03. "I'll Make Everything Alright" (Simmonds) – 3:18
04. "Troubled by these Days and Times" (Paul Raymond) – 5:43
05. "If I Could See an End" (Raymond, Simmonds) – 2:54
06. "It'll Make You Happy" (Simmonds) – 3:26
07. "Hellbound Train" (Silvester, Simmonds) – 9:07

1. Hellbound Train
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2. Hellbound Train
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3. Hellbound Train

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Power of Love was the second studio album by Hour Glass, issued in March 1968 on Liberty Records, the final by the group with the namesakes of The Allman Brothers Band. After the failure of their first album, Liberty Records allowed a greater independence for the group, who had been virtually shut out of the decision making for their first album by the label and producer Dallas Smith.

However, with the label's decision to retain Smith as producer, the group, especially Duane Allman, once again felt constricted by their label's expectations for the album.

With Smith behind the boards, Gregg Allman was still the focus. The younger Allman, who had seen only one of his compositions on the previous album, contributed seven of the twelve tracks.

The remainder were two from Marlon Greene and Eddie Hinton and one each from the teams of Spooner Oldham and Dan Penn, John Berry and Don Covay, and John Lennon and Paul McCartney. The group performed all of the instrumentation, with Duane Allman adding electric sitar to their cover of The Beatles' "Norwegian Wood (This Bird Has Flown)", a staple of their live act.

Neil Young of Buffalo Springfield wrote the liner notes, describing his experience sitting in on the session for the album track "To Things Before", watching Gregg Allman leading the group through the number.

After the failure of the album to enter the chart, the Hour Glass traveled to Fame Studios in Muscle Shoals, Alabama, in an attempt to further refine their sound. However, Dallas Smith and Liberty Records were displeased with the group-produced blues-fueled rock tracks that the group returned to Los Angeles with, as they were light years away from the pop music Smith envisioned them performing. Additionally, seeing himself cut out of the group's picture was not ideal for Smith, even if his relations with the group had been strained.

Hour Glass disbanded shortly thereafter, with Gregg Allman returning to California to satisfy the terms of the group's contract with Liberty. Paired with a studio band, Allman recorded roughly an album's worth of material, though it took nearly a quarter of a century for it to surface. [Wikipedia]

Now this is a little more like it. The group really isn't sounding like they did at the Whiskey, but the playing by the band is pretty ballsy, and Duane's guitar is right up front and close, and he's showing some real invention within the restrictions of the pop sound that the producer was aiming for. He also plays an electric sitar on the strangest cut here, an instrumental cover of Beatles' "Norwegian Wood."

From the opening bars of the title tune, one gets the message that this is a group with something to say musically, even if this particular message isn't it -- the guitar flourishes, the bold organ and piano by Paul Hornsby, and Gregg Allman's charismatic vocals all pull the listener better than 98% of the psychedelic pop and soul-pop of the period.

The outtakes that are included as bonus tracks are much more important, consisting of songs cut for a never-issued Gregg Allman solo album (intended to keep Liberty from suing over the group's breakup and departure), where he sounded a lot more like the lead singer of the Allman Brothers Band than he'd ever been given a chance to with the Hour Glass, on songs that included the future Allman Brothers classic "It's Not My Cross to Bear." [AMG]

Personnel:
♦ Gregg Allman – organ, piano, guitar, vocal (all tracks)
♦ Duane Allman – guitars, electric sitar (tracks 1-6, 8-12)
♦ Paul Hornsby – piano, organ, guitar, vocal (tracks 1-12)
♦ Johnny Sandlin – drums, guitar, gong (tracks 1-12)
♦ Pete Carr – bass guitar, guitar (track 7), vocal (tracks 1-12)
♦ Several unknown studio musicians on horns, guitars, backing vocals, drums, bass guitar, keyboards and percussion (tracks 13-18)
♦ Bruce Ellison - Engineer (all tracks)

01. "Power of Love" (Spooner Oldham, Dan Penn) - 2:50
02. "Changing of the Guard" - 2:33
03. "To Things Before" - 2:33
04. "I'm Not Afraid" - 2:41
05. "I Can Stand Alone" - 2:13
06. "Down in Texas" (Marlon Greene-Eddie Hinton) - 3:07
07. "I Still Want Your Love" - 2:20
08. "Home for the Summer" (Marlon Greene-Eddie Hinton) - 2:44
09. "I'm Hanging Up My Heart For You" (John Berry, Don Covay) - 3:09
10. "Going Nowhere" - 2:43
11. "Norwegian Wood (This Bird Has Flown)" (John Lennon, Paul McCartney) - 2:59
12. "Now Is The Time" - 3:59

Bonus Tracks:
13. "Down in Texas" (alternate version) (Marlon Greene-Eddie Hinton) - 2:21
14. "It's Not My Cross to Bear" - 3:36
15. "Southbound" - 3:41
16. "God Rest His Soul" (Steve Alaimo) - 4:02
17. "February 3rd" (Composer Unknown) - 2:56
18. "Apollo 8" (Composer Unknown) - 2:37
19. "I've Been Trying" (alternate version) (Curtis Mayfield) - 2:35
20. "Kind of a Man" (Composer Unknown) - 3:07
21. "D-I-V-O-R-C-E" (Bobby Braddock, Curly Putman) - 3:12
22. "She Is My Woman" (Composer Unknown) - 2:38
23. "Bad Dream" (Gregg Allman) - 3:37
24. "Three Time Loser" (Don Covay, Ronald Miller) - 2:40

★ Tracks 13-18 from the 1969 sessions for Gregg Allman's unreleased first solo album for Liberty (present on 1992 re-release only).
★ Tracks 19-20 are outtakes from the 1st Hour Glass Album.
★ Tracks 21-24 are tracks from aborted 1968 and 1969 sessions by Gregg Allman (present on 1992 re-release only).

All songs by Gregg Allman, unless noted.

1. Hour Glass
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Enjoy

ChrisGoesRock, Huddinge Hill, Sweden

dBpoweramp Music Converter R16.3 Reference

For a perfect Install dbPowerAMP 16.3 with perfect settings:

01. Run: dMC-R16.0-Ref-Registered

02. Install: dBpoweramp-PerfectMeta-PowerPack

03. Most of all codec is already installed, if you need more, go here: Codecs

04. Help with all setting, Follow: "Spoons Audio Guide": It will take a hour or two, but you get settings and sound for: FLAC, Wave, mp3 etc.

05. Take it slow and read the whole text before you change "Spon's" setting guide.

This is full program, no serial needed.

//ChrisGoesRock

1. dbPowerAMP
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2. dbowerAMP
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3. dbPowerAMP

Pink Floyd - Set The Controls For The Heart Of The Sun Live In A Church ...

Black Sabbath at Don Kirshners' Rock Concert Remastered

Hydra - Hydra 1974 (full album)

Enjoy it
//ChrisGoesRock

Size: 133 MB
Bitrate: 320
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Remastered 2017

Now after all these years this album will finally get a proper reissue, fully digitally re-mastered from the original tapes and released on CD limited to 500 copies worldwide, with a booklet containing lyrics and liner-notes by guitarist Mike Matney. The CD version will also include 5 bonus tracks that will only be available on CD version.

Also White Boy And The Average Rat Band debut LP will be re-released for the first time officially on vinyl in a limited 500 pressing; 100 coke-clear and 400 black pieces. The album will be fully re-mastered from the original tape sources to assure that best sound quality possible. This will be the only official reissue of this release, others are unofficial bootlegs taken mastered from vinyl sources.

Link, if you would like to buy: White Boy...

Fans of early Sabbath, Priest, Motorhead, Axe, Wicked Witch, A Band Called Death, Roky Erikson, The MC5, and Iggy and the Stooges will certainly find this to be appealing.

♣ Mike Matney - Lead Guitars and Vocals
♣ Tommy Altizer - Bass Guitars
♣ Seth Kelly - Rhythms
♣ Tim Gilbert - Percussions

[Tracks 01-13 Update & Remasteed 2017]
01. Prelude 01:30
02. Neon Warriors 04:47
03. Sector 387 03:24
04. Maybe I'm a Fool 02:03
05. The Prophet Song 04:25
06. Leaving Tonight on Vacation 02:47
07. Blue Moon 04:16
08. Oriental Doctor 06:10

Unreleased Tracks on The Remastered 2017 Version:
09. Tell Someone 02.34
10. Will to Fight 05.25
11. Smokehouse Blues 06.26
12. Phone Call From New York 03.02
13. If I Found Love 03.35

1. White Boy [Update]
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2. White Boy [Update]
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3. White Boy [Update]

Size: 143 MB
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Melody Maker 1971: “As album conceptions become more ambitious, so standards of judgement become harsher. This one makes it. It’s an album to listen to. The ideas incorporated in the lyrics are imaginative.

The music is carefully stitched into the fibre of the album. Although a large amount of instruments is used, there’s nothing that’s superficial. Most of the songs are written by Chris Baker (lead guitar). His lyrics are simple and effective.”

"Some of the best psych/prog rock came out of the UK in the 1970s. Dear Mr Time is a band that never made it big, but in my opinion they should have done. It's a concept album based around the life of one man. So yeh, maybe the idea is a little corny now, but, hey, this is from 40 years back.

The musicianship and the vocals are excellent and a real variety of instruments is used - typical of the time. Nice guitar and keyboard work (mellotron?). Some gentle songs as well as some real riff-based rockers. Best tracks ? Your Country Needs You, Make your Peace, Light up a Light and the haunting Years and Fortunes. If you can find this on vinyl get it - it's a real collectors item and well worth a listen."

Highly sought-after on the collectors’ circuit for many years, the Dear Mr. Time album Grandfather is an obscure but genuinely impressive example of the British late psychedelic/early progressive rock sound, firmly in the same vein as the likes of the Moody Blues and early King Crimson. Originally released in February 1971 by the small independent label Square Records, it now finally receives a first-ever official reissue.

Taken from the original master tapes, this definitive release adds a batch of home demos of similar vintage by the band’s guitarist and chief songwriter Chris Baker. It also tells the band’s story for the first time and includes many previously unpublished photos.

“As concept albums go, Dear Mr Time’s Grandfather could be a distant relative of S. F. Sorrow, being a WW1-based reverie upon one man’s episodic lifestyle. The very minute the brooding King Crimson flute and pious Moodies harmonies kick in on ‘Birth, The Beginning’, it is instantly apparent upon which side these Chelmsford challengers liked their bread buttered.

Originally issued in a meager run of 1000 copies on the miniscule independent Square label in 1971, Grandfather may well wear its influences like peacock feathers – see also the ‘Schizoid Man’-derived stop-time riffing of ‘Your Country Needs You’ and ‘A Distant Moonshine’, and the ardent Graeme Edge-style spoken word passages in ‘On A Lonely Night’ – but it earns its own validity thanks to guitarist Chris Baker’s propensity for penning uncommonly pretty acoustic vignettes (‘Yours Claudia’, ‘Years And Fortunes). Besides which, you wouldn’t find the chuckling banjo and floppy boot stomp of the excellent single ‘A Prayer For Her’ on any King Crimson album.”

• Bass Guitar, Backing Vocals – Dave Sewell
• Lead Guitar, Acoustic Guitar, Backing Vocals – Chris Baker
• Organ, Piano, Harpsichord, Lead Vocals – Barry Everitt
• Percussion, Drums – John Clements
• Saxophone, Flute, Acoustic Guitar, Backing Vocals – Jim Sturgeon
• Vocals – Chris Baker (tracks: 03)

01. Birth - The Beginning 03:58
02. Out Of Time 04:30
03. Make Your Peace 05:22
04. Your's Claudia 02:53
05. Prelude (To 'Your Country Needs You?') 03:02
06. Your Country Needs You? 03:37
07. A Dawning Moonshine 03:48
08. Years And Fortunes 04:07
09. A Prayer For Her 02:53
10. Light Up A Light 03:25
11. On A Lonely Night 04:18
12. Grandfather 02:42

Bonus Tracks
13. Only Fooling 02:39
14. Henrietta Hall 02:03
15. Not Now At All 02:16
16. Victorian Blue 01:04
17. This Place Was Us Was Home 03:28

1. Grandfather
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