Harbus ‎– Harbus

Evolution (3) ‎– 3018
Vinyl, LP, Album

Companies, etc.



Recorded at A&R Recording Studios, New York.
Mixing at 914 Recording Studios, Blauvelt, New York.
Special thanks to Donald Hooper, Jr.

© 1973 Stereo Dimensions, Inc.
This sound recording ℗ 1973 Stereo Dimensions, Inc.

Made in U.S.A

Barcode and Other Identifiers

  • Rights Society: ASCAP

Other Versions (4 of 4) View All

Cat# Artist Title (Format) Label Cat# Country Year
20.124 Harbus Harbus(LP, Album) BASF 20.124 Venezuela 1973 Sell This Version
Stereo 3018 Harbus Harbus(LP, Album) Evolution (3) Stereo 3018 Canada 1973 Sell This Version
XT 80057, XT-80057 Harbus Harbus(LP, Album) Evolution (3), Trova XT 80057, XT-80057 Argentina 1973 Sell This Version
SD-35001 Harbus Harbus(LP, Album) Evolution (3) SD-35001 Brazil 1973 Sell This Version


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March 31, 2018
edited 4 months ago
A nice artifact of the eclectic early ‘70s music world, where folk, soft-pop, country-rock intertwined, and spacy, well-intentioned spirituality floated around like a hippie halo. There’s a little bit of country twang on some songs, but mostly this is a folk-tinged soft-pop singer-songwriter set…Fans of Tom Rush, Gordon Lightfoot, Cat Stevens and Tim Hardin should find this particularly enjoyable.
This only album of American musician Neil Harbus was co-written and co-produced by Neil Portnow and John Miller. The album featured an all-original collection of material. Musically material like 'Hudson Harbor’, 'Bushes and Brambles’ and 'Open the Door’ found Harbus framed as a member of the sensitive singer/songwriter camp - think along the lines of a less sunny and country-flavored John Denver, a less pop-oriented Lobo, or maybe a second tier Gordon Lightfoot. Given his dry, slightly raspy voice, on tracks like 'Gonna’ Make It This Time’ and 'Songs for Singing’ Harbus actually reminded me a bit of an American Cat Stevens. It wasn’t a heavy, in-your-face style of proselytizing, but exemplified by the closer 'Brother Daniel’, the album also seemed to have a slight religious edge to it. Interestingly, given my usual musical prefer preferences, this one shouldn’t have made much of an impact on me. I won’t try to convince you it was a lost classic, 'cause it wasn’t, but the collection had an enjoyable, almost calming feel and over the years I’ve played it a surprisingly number of times. By the way, 'While the Daylight Shines’ and 'Brother Daniel’ may have been the album’s most interesting performances - not that they were the album’s best tunes, rather because they offered up atypical conventional rockers…