TOMORROW feat KEITH WEST Tomorrow LP VISA 1968 USreissue+stereo TWINK-STEVE HOWE

	£		25
	$		33

U.K.  BUYERS PLEASE IGNORE THE SHIPPING COSTS MARKED ON EBAY BECAUSE WE ARE ITALIAN SELLERS

 SO PLEASE DO NOT PAY IMMEDIATELY AFTER WINNING

BEFORE I SEND CORRECT INVOICE!

 BEFORE BIDDING, PLEASE

CAREFULLY READ BELOW THE CORRECT SHIPPING COST!

 THESE RATES ARE FOR BOXES UP TO 3 KG (1 to 5 LPs).

The shipping cost from Italy to UK and Europe from 1 up to 5 albums

[it is a question of weight, we have to stay under 3kg] is £13 with DHL courier

(NOT for Norway, Russia, Ukraine, Ireland, Switzerland, please ask for prices with registered letter),

 with a sturdy and well conceived box.

The shipping cost  also depends by the exchange euro/pounds. 

Still, starting from the 1st of December the Italian Post increased 

the price for the international & domestic shipment. 

We have done our best to absorb any handling fees in order 

to keep all international shipping rates as low as we can

PLEASE ASK FOR ANY INFORMATION

TOMORROW featuring KEITH WEST

STEVE HOWE, TWINK (JOHN ALDER), KEITH WEST, JOHN WOOD

plus MARK P. WIRTZ and KEN LAWRENCE

In the early days of British psychedelia, three bands were consistently cited as first-generation 

figureheads of the London-based underground sound: Pink Floyd, the Soft Machine, and Tomorrow.

Tomorrow was one of the leading psychedelic bands of the era. 

West, Howe and Wood had all earlier played with the In Crowd, a mid-sixties R&B group 

who released three singles, one of which, That's How Strong My Love Is, reached No 48 in May 1965. 

They changed their name to Tomorrow at the dawning of the psychedelic era in 1967. 

This group failed to survive the psychedelic era, but Howe 

went on to form Bodast and later to play with Yes. 

Twink, meanwhile joined Aquarian Age and then The Pretty Things and Pink Fairies

"TOMORROW"

<reissue, originally published on Parlophone (UK) and on Sire (US) in 1968>

Produced by Mark P. Wirtz

1968     LP     VISA RECORDS     STEREO    IMP 1003

PRINTED IN USA    1976 REPRESSING

[also published in the U.S.A. in 1976 on IMPORT  Records & labels, with identical matrix numbers]

STILL IN SHRINK     THICK CARDBOARD COVER (AMERICAN STYLE)

This version: with 12 tracks instead of 11 of the original version: A6 added.

On spine "IMPORT RECORDS"; on labels "VISA RECORDS".

Barcode and Other Identifiers

Barcode: none

LABEL: VISA - GRAY LABEL w/LOGO at noon - BLACK/SILVER (rim) TEXT

Catalog on cover: IMP 003  

Catalog on labels: IMP 003 (Side A / Side B)

Matrix / Runout (Side A, Etched): IMP-1003-A

Matrix / Runout (Side B, Etched): IMP-1003-B

Other / Runout (on both sides, Stamped): STERLING

On labels: rim text reads 'Visa Records, Distributed By Jem Records, Inc.,...... Made in U.S.A.'

STEREO

Rights Society / Publishing: Belinda/Dunnell Music (BMI), Robbins Music (ASCAP),

Miller Music Corp. (ASCAP), Glenwood Music corp. (ASCAP), Maclean Music Inc. (BMI), 

Belinda Music/Nice Music (BMI)

On back cover: Notes by Roger Fennings

?1967+, 1968 EMI Records, Ltd.

Recording Engineers: Geoff Emerick, Peter Brown*

Keiboards Instruments Mark P. Wirtz

from my records collection

tracklisting

Side A: MY WHITE BICYCLE*+ - COLONEL BROWN

REAL LIFE PERMANENT DREAM - SHY BOY* - REVOLUTION*+

EXCERPT FROM "A TEENAGE OPERA"

Side B: THE INCREDIBLE JOURNEY OF TIMOTHY CASE

AUNTIE MARY'S DRESS SHOP* - STRAWBERRY FIELDS FOREVER

THREE JOLLY LITTLE DWARFS*+ - NOW YOUR TIME HAS COME - HALLUCINATIONS*

RECORD NEAR MINT but (please, read above description)

SLEEVE EX but (please, see pictures and read above description)

Tomorrow's sole album was a solid effort, with quite a few first-rate tracks. "My White Bicycle" was one 

of the first songs to prominently feature backward guitar phasing, "Real Life Permanent Dream" has engaging 

English harmonies and sitar riffs, "Revolution" is an infectious hippie anthem, and "Now Your Time Has Come" 

features intricate riffing from Steve Howe. "Hallucinations," with its irresistible melody, gentle harmonies, 

and affectingly trippy lyrics, was perhaps their best track. The more self-conscious 

English whimsy -- populated by jolly little dwarfs, Auntie Mary's dress shop, colonels, and the like -- is 

less successful, although the band's craftsmanship is strong enough to avoid embarassment...(AllMusic)