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· ETERNITY'S CHILDREN– TIMELESS (INSANELY RARE GROUP'S SECOND - AND LAST - STUDIO ALBUM, RELEASED ONLY IN CANADA AND ABSOLUTELY NOWHERE ELSE!) - VERY RARE ORIGINAL 1968 TOWER RECORDS STEREO LP ST-5123
· ORIGINAL CANADIAN-ONLY. PRESSING
· ORIGINAL BLACK, GLOSSY CAPITOL (CANADA) LABEL WITH MULTICOLORED SPECTRUM (“RAINBOW) BAND ALONG THE LABEL’S EDGE AND CAPITOL’S LOGO ON TOP (12 O’CLOCK POSITION) OF THE LABEL
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST (AND ONLY) CANADIAN PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)
· COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP
· THICK, HEAVY VINYL PRESSING
· CLEAN, WEAR-FREE LABELS
· MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-W1/-W1'. ON SOME LABELS, SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)
(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)
On their first album. Eternity's Children had worked with Keith Olsen (a member of the Music Machine, who also worked on Sagittarius' Present Tense, The Millennium's Begin, Emitt Rhodes' self titled album, Lambert & Nuttycombe's second album, As You Will, and Fleetwood Mac's Rumours) and Curt Boettcher (from the Millennium). After brief stints releasing a single on the small Apollo label, a single on A&M and an album for the Tower label, they turned to Gary Paxton to produce their second album. Paxton had worked with Kim Fowley on the Hollywood Argyles' Alley Oop, and also worked as the engineer for The Association and Lee Mallory. Eternity's Children basically existed as two entities, and it was the second lineup that recorded the second album, Timeless. This album for some reason was originally only released in Canada.
Remaining members in this second entity all began adding to the songwriting (and interestingly, Linda Lawley later penned Kiss Me The Way You Did Last Night for The Carpenters, which appeared on their Lovelines collection).
Also, Jan Paxton (Gary's wife) who wrote songs for future Byrds member Clarence White and recorded Nature's Child with him as Jan & Clarence, worked with Clarence, Gene Parsons, Ben Benay, and Gary, writing songs for this album.
Check out the Boy Trouble: Garpax Girls review for more on other Gary Paxton productions and Jan Paxton's material (where you can hear her singing I've Had Enough Heartaches as Janice Paxton).
I Wanna Be With You, Look Away, and Till I Hear It from You were all singles that also appear on the Complete Singles collection. They show the more soulful pop side of the Eternity's Children, skipping along with a pleasant soulful harmony vibe. I Wanna Be With You kick starts the album in an addictively upbeat manner. Look Away is a summer's over sunshine gem. And Till I Hear It from You is the more mellow he said/she said side of soul with laidback vocals, swirling organ and horns a plenty.
The Other Side of Me has an Association meets Zombies vibe and zips along brightly. Christina in My Dreams actually has a Curt Boettcher/Millennium/Sagittarius vibe to it, with a mallet instrument augmenting the melody and a sweet harpsichord break, all embellished with those sweet sunshine harmonies.
Then there is Sunshine and Flowers, which has the sunshine and flowers vibe you'd expect from a song with that name. Get Outta Here actually jams harder with a Janis Joplin/Big Brother and the Holding Company groove.
Nature's Child has that flower in the hippie's hair sound, while the album closing Thinking Animal is a social conscience song which sounds like it could be the theme song to a cutting edge children's show, if hippies replaced the clowns with mimes dressed as donkeys.
The only song that didn't do much for me was Gypsy Minstrel Man, which is the only time the sun isn't shining even when summer's over.
(EXCERPT FROM AN ONLINE REVIEW BY STEVE HUEY, ALL MUSIC GUIDE /ALLMUSIC.COM/)
· THE RECORD
(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)
(a) WE GRADE THE VINYL AS EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.
(b) The record comes in a hi-grade MFSL PVC inner sleeve, which has - apparently with success - shielded the record from the harmful impact of elements over many years!
(c) The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!
(d) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· THE COVER
COVER IS NEAR MINT, STILL IN ITS ORIGINAL ►SHRINK WRAP