Mark-Almond ‎– Mark-Almond

Blue Thumb Records ‎– BTS-27, Blue Thumb Records ‎– BTS 27
Vinyl, LP, Album, Stereo, Terre Haute Press


A1 The Ghetto 6:05
The City (11:30)
A2a Grass And Concrete
A2b Taxi To Brooklyn
A2c Speak Easy It's A Whiskey Scene
A3 Tramp And The Young Girl 4:55
Love (11:49)
B1a Renaissance
B1b Prelude
B1c Pickup
B1d Hotel Backstage
B2 Song For You 8:25

Companies, etc.


  • Arranged By [Brass & Harmony]Johnny Almond, Tommy Eyre
  • Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Soprano Saxophone, Vibraphone, Harmony Vocals, Congas, Concert Flute [Alto], Flute [Bass]Johnny Almond
  • Bass [First], Percussion, Harmony Vocals, Vocals [Second]Rodger Sutton*
  • Classical Guitar, Electric Guitar, Bass [Second], Percussion, Lead VocalsJon Mark
  • Composed ByJon Mark (tracks: A1 to B1), Rodger Sutton* (tracks: B2)
  • Concert Grand Piano, Electric Piano, Harmony Vocals, Organ, Flute [Second], Percussion, Guitar [Second]Tommy Eyre
  • Design Concept [Cover], DesignIan Latimer
  • Executive-Producer [Blue Thumb Records]Bob Krasnow
  • Executive-Producer [Harvest Records]Dave Croker
  • ManagementDennis Lunder
  • Photography By [Cover]Richard Dunkley
  • Supervised By [Production]Hugh Murphy


Original Terre Haute Pressing with slightly variant center labels (typeset) from this undisclosed press by same catalog #.

A Gulf + Western Company rim text.

Embossed envelope style sleeve includes custom inner sleeve containing credits/photo

All songs Published by Irving Music, except B2 Published by Rococco Music

Conceived, written, produced and recorded in London, 14 Belvedere Drive; New York; Paris and Los Angeles.

1st catalog #: sleeve; 2nd: labels

Barcode and Other Identifiers

  • Matrix / Runout (A Side Label): 5065
  • Matrix / Runout (B Side Label): 5066
  • Matrix / Runout (A Side Etch, exc Artisan stamp): 5065-A-2 [Artisan logo] S x T1
  • Matrix / Runout (B Side Etch, exc Artisan stamp): BTS-27 5066-1A [Artisan logo] S x T
  • Rights Society: BMI
  • Pressing Plant ID (Etched in Matrix): T

Other Versions (5 of 39) View All

Cat# Artist Title (Format) Label Cat# Country Year
SHSP 4011, IE 062 - 92200 Mark-Almond Mark-Almond(LP, Album) Harvest, Harvest SHSP 4011, IE 062 - 92200 UK 1971 Sell This Version
302 067 302 8 Mark-Almond Mark-Almond(CD, Album, RE, RM) Varèse Sarabande 302 067 302 8 US 2014 Sell This Version
BTS-8827 Mark-Almond Mark-Almond(LP, Album) Blue Thumb Records BTS-8827 US 1971 Sell This Version
2 C 062-92200 Mark-Almond Mark-Almond(LP, Album) Harvest, Les Industries Musicales Et Electriques Pathé Marconi 2 C 062-92200 France 1971 Sell This Version
SHSP 4011 Mark-Almond Mark-Almond(LP, Album, RP) Harvest SHSP 4011 UK 1971 Sell This Version


Reviews Show All 3 Reviews

Add Review



July 12, 2018
I purchased this LP after listening to II. What a very talented musician. His instrumentals, lyrics and compositions are very awesome. Im surprised that more of his music isn't played on the air. His presentation and delivery masks itself between Jazz fusion Progressive Rock and Classic Rock artists. Im really impressed with his music and looking forward to obtaining his other albums for my collection.


December 27, 2015
Nice review. I bought this LP new in 1971, followed by "II" in 1972 and then "To the Heart" in 1976. Was always amazed that nobody I knew ever knew who they were.


December 23, 2015

Melting with emotional atmosphere, the Mark-Almond band [Johnny Almond and Jon Mark] remain nearly unknown legends from the early 70’s ... delivering a quivering and honest presentation that’s not rock, not quiet jazz, not quite blues, or even that folky Renaissance blend of mystery meets reality, creating a blueprint that to this day belongs to them and them alone. I say this in all honesty, because my next thoughts are far from what I’ve just inferred. There is an “at worst” side to Mark-Almond, in that their lyrics are sophomorically overly sentimental, yet in the context of their delivery, Jon and Johnny can certainly be forgiven, because with the atmosphere they create, this over sentimentality works just fine.

Yes, you’re gonna wonder how a song such as “The Ghetto” would find it’s way onto this release, because it’s outstanding, richly constructed, and may be the closest thing to a rock n’ roll ballad in their catalog. Every aspect to the album is delivered sparsely, almost with a minimalist feel, creating a sort of laid back California jazz-rock that’s infused with Spanish elements of warmth and loneliness. Never pushing their vocals to more than breathy whispers, the pair create a delicate balance of sax, flute, piano, and guitars [both electric and acoustic] that enhance each other without feeling the need to incorporate leads or sonic structural flows.

This is one of the few albums I suggest you’re either going to love or totally dismiss. Its individual tracks are rather lengthy and unveiled rather slowly ... and even though you’re waiting, and perhaps hoping, there is no midsection where the tempo picks up to make you tap your feet, or nod your head in appreciation. It all feels as if it’s designed to exist in the background of your mind, floating to the surface when you loose your train of thought, pleasantly filling those spaces.

Review by Jenell Kesler