National Head Band '71 UK HEAVY PROG KILLER LP Albert 1 on WB mint-

	£		60
	$		80

Hi Vinyl freaks. In the next few weeks I'll put on auction more than 600 great and collectible records. Most records are true collector's items. Have a look, it is worthwhile! Most of my vinyl comes from my own collection and/or quality collections. Most records are in great, collectible condition. If not, I'll clearly describe the possible flaws or scuffs. Appr. 90% of my records are EX to Mint-. I am continuously selling Essential German Kraut, Dutch psych and garage, UK and US progressive and folk, early electronic and (hard) psychedelic records from the period 1967 to 1975. Moreover, many other essential wave, punk and (minimal) synth records will be on auction. Please take some time and read my instructions carefully. If questions... please feel free to ask. A fantastic vinyl collection is going to be for sale in outstanding condition. Don't miss out this opportunity!!

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Band/Record: National Head Band - Albert 1

Label/Matrix: UK 1971 Warner Bros. K 46094 with A1 // B1

Condition Record/Sleeve: Mint-/EX- (record immaculate, DREAM audio. Cover clean and unwritten, with corners only tiny "eaten" and light wear on edges)

Extra Info: Fantastic Album ...Heavy PROG MONSTER !! Mega rare U.K 1st press LP on the WB label ..WOW...  MINTY  DREAM AUDIO ... VERY RARE !!

~~~ A hard-rock/progressive outfit who formed in 1969 out of Scaffold's backing group. Initially known as  The Business, Lee Kerslake had joined from  Toe Fat. Their varied album, which was prouced by Eddie Offord. They split in November 1971. Jan Schelhaas was later in  The Gary Moore Band and Caravan, whilst Lee Kerslake went on to  Uriah Heep.

Albert One has a familiar story: Label sign experimental band, band makes album, label doesn’t promote band, band make no money, band split. The moniker turned out to be apt — for this is musically an intelligent, experimental expose of progressive influences and excesses, played by a bunch of talented, passionate guys who knew (more or less) what they were doing.

The band members had eclectic tastes and strong personalities. Schelhaas was a soul fan, whereas Ford’s background had largely been blues and Paull was ostensibly a folkie. Only Kerslake had had a crack at the post-Beatles rock that was now spreading like wildfire on the underground. Progressive rock heavyweight Eddie Offord, fresh from success with Yes’ The Yes Album became the album’s producer.

The resulting album is a piquant mix of blues, folk and progressive interlaced with a harder, rockier sensibility.
“Got No Time” begins the record, starting out as a rock standard, the track gave way at the bridge to an extended percussion solo from Kerslake. Picking up on the riff from the opener, “You” is more pastoral and showcases the band’s talent for harmonising. “Too Much Country Water” — often misleading attributed to Uriah Heep due to the Kerslake connection, is, by that virtue the band’s best known track. Heavy and rockin’, it has the band at their colourful best; ending with a great riff. “Lead Me Back” is perhaps the most Beatles-que number on the album, with a clear cue coming from Abbey Road. It features Paull’s best bass-playing and some magic moog work from Schelhaas.

The highlight of the whole record, “Listen to the Music” is another Beatles inspired ballad, mixing four-part hormonies, blended effortlessly with an intricate rock template that remains all their own.

With the Harmonium driving “For Islington Farm”; it becomes a lush, poetic number full of soaring harmonies and melancholy. A rhythmic, folk ballad follows in the shape of “Try to Reach You” which again features some blistering bass from Paull. “Brand New World” contains insightful lyrics and is another intelligent mix of styles, a big stab at rock.
A two-parter ends the album and brings together all the aforementioned skills with delicious aplomb. Beginning as an intense rock-out, with all and sundry playing hard, it gives way halfway to their most pastoral and wistful side.

Experimental, but tied both to an array of influences and the mood of the time, it stands as a snapshot of a music scene undergoing a huge shift and a talented band who deserved more recognition.
Jan Schelhaas would later join Caravan and Camel, Lee Kerslake would go on to Uriah Heep.

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