The liner notes accompanying this compilation of the Hour Glass’s two Lps could hardly be more baldly dismissive, beginning with the opening paragraph (“The music on these two records is not very good”) and carrying on in like fashion from there (“Far from being the story of why the Hour Glass was such a fine band, it tells us more about why they were not“). In fact, writer Ben Edmonds’ attitude towards this charming pop-soul double album has more to do with place and timing than artistry.
A little background. The Hour Glass represents the first commercial output of Allman brothers Duane and Gregg. Despite having been in the business for a few years, the boys were manipulated in classic “I’m-gonna-make-you-a-star”-style into moving to LA dressed up in the hippy gladrags, having songs picked out for them and being allowed to perform only for a few high-profile gigs. As a result, the band was broke and culturally overwhelmed with a sorely misrepresentative repertoire, all of which left them more than a little frustrated and bitter. I think Edmonds’ liner notes reflect the band’s still fresh resentment rather than the music, which is actually quite good, certainly as good or better, thanks to the band’s considerable chops, than most Blue-Eyed Soul of the time. I got this three weeks ago in Hythe for a pound.
Not two weeks later, I picked a companion piece at the Ashford bootfair. Alluded to in glowing terms in Edmonds’ brush off, Duane Allman – An Anthology contains a couple previously unreleased Hour Glass tracks, notably a blues medley highly rated by the band, that indicate where the brothers were headed. In addition to a side’s worth of AB highlights, An Anthology also includes songs which feature Duane as sideman, such as Wilson Picket’s “Hey Jude” and Boz Scaggs’ “Lend Me a Dime”.