Hardin, Tim

Vinyl Records and Rare LPs:

	1 New - Vinyl - FTS 3004 Sealed 1966 Stereo Original. more
	2 New - Vinyl - FTS 3022 Sealed 1967 Stereo Original. “Tim Hardin 2 Is Probably His Best Single Album, On Which He Eschewed Blues Nearly Entirely And Forged A Distinctive Folk-Rock Voice, Occasionally Embellished By Tasteful Full Arrangements. "The Lady Came From Baltimore," "Red Balloon," And Especially "If I Were A Carpenter" Rank Among His Best And Most Famous Songs.” Richie Unterberger, All Music Guide. more
	3: Live In Concert New - Vinyl - FTS 3049 Sealed And Pristine 1968 Gatefold Stereo Original. more
	4 New - Vinyl - FTS 3064 Sealed 1969 Stereo Original. more
	Bird On A Wire Used - Vinyl - C 30551 Stunning 1971 Gatefold Original. First Copy We Have Seen Of This Rarity. Features Joe Zawinul, Ralph Towner, Miroslav Vitous, Glenn Moore And Others. 1A/1A Stampers In Unplayed Condition. more
	Bird On A Wire Used - Vinyl - C 30551 Stunning 1971 Gatefold Original With Promo/Timing Strip. First Copy We Have Seen Of This Rarity. Features Joe Zawinul, Ralph Towner, Miroslav Vitous, Glenn Moore And Others. 1A/1A Stampers In Unplayed Condition.“Tim Hardin Was Mostly Known As A Singer/Songwriter, And A Most Prolific One At That, Based On The Number Of Originals He Generated On His Albums During The Second Half Of The 1960s. Bird On A Wire Was, Thus, Something Of A Surprise, Turning Up As It Did With Only Six Originals On It. Perhaps Hardin Was In A Bad Way Creatively -- Given What Fans Know Now, It's Difficult To Picture A Time In His Life After 1966 When He Wasn't, At Some Level -- But As Compensation, He Did Beautifully Soulful Renditions Of The Title Track (A Leonard Cohen Song), Hoagy Carmichael's "Georgia On My Mind," John Lee Hooker's "Hoboin'," And More. Ironically, Cohen Was Supposed To Be Columbia Records' Resident Singing Literary Figure, But In "Andre Johray" And "Moonshiner," Hardin Merged Serious Personal Poetry And His Compositional And Interpretive Skills In A Startlingly Intimate And Affecting Manner. The Singing Is Exquisite, Poignant, And Powerful And The Production Is As Tasteful And Eloquent As Any In Hardin's Output. This Might Not Be The Place To Start Listening To Tim Hardin (Though There Are Worse Places For That As Well) In Terms Of Finding Out What He Was About, But It's Also As Essential As Anything In His Output And A Lot Closer To The Core Of Who He Was Than, Say, Tim Hardin 4. This Was Also Hardin's Last American Studio Recording And One Of The Last Records That He Made Before The Physical Consequences Of His Drug Problem Became Obvious.” Bruce Eder, AMG. more
	Memorial Album Used - Vinyl - 6333 1981 Original. Small CC. more
	Painted Head New - Vinyl - KC 31764 Sealed 1972 Stereo Original With Paste On Back. Shrink Is Torn Along The Spine But Still Encases The Record. Features Peter Frampton. more
	Painted Head Used - Vinyl - KC 31764 1972 Stereo Original With Paste On Back Still In Shrink With Hype Sticker. Small Cut Out Hole. Features Peter Frampton. more
	Painted Head Used - Vinyl - KC 31764 1972 US original, Pitman pressing. Glossy, NM- vinyl. A later-career release from Tim Hardin, Painted Head reflects the fragile brilliance that defined his work. Blending folk, blues, and understated orchestration, the album carries Hardin’s signature emotional vulnerability, delivered in his soft, weathered tenor. more
	Suite For Susan Moore And Damion - We Are - One, One, All In One Used - Vinyl - CS 9787 1970 US Stereo gatefold original 2-eye, Santa Maria pressing. An oblique downer of a record, Hardin's lyrics are at his most incomprehensible, and the instrumentation/effects lends to a completely druggy feel. "Hardin's first album for Columbia was a darker, more subdued, and altogether stranger affair than the relatively accessible material he had recorded for Verve just two or three years previously. Even at the peak of his popularity, Hardin was not always the most straightforward of songwriters, and Suite for Susan Moore took a turn toward the oblique. The "songs," actually running together into a loose suite, were divided into the mysteriously titled sections "Implication I," "Implication II," "Implication III," and "End of Implication." Often they sounded like an outpouring of stream-of-consciousness romantic emotions and thoughts, rather than compositions deliberately constructed for ease of listener comprehension. Some of the cuts had foggy, druggy textures with slow tempos, tremeloed guitars, and watery electric keyboards; not lethargic or laid-back, but the kind of stuff you're always tempted to boost the volume on to make it easier to grasp. Even the folkier and more upbeat tunes had a casual and distended air; Hardin added to the strangeness by occasionally reciting somber poetry, both unaccompanied and to meandering, jazzy instrumental backing. The drowsy mood, both affectionate and vulnerable, is more important than the message on this haunting album. That means it's not recommended as the first Hardin recording for neophytes, but it is recommended to those who already like Hardin and are up for something more obtuse than his early records." All Music Guide – Richie Unterberger more
	Suite For Susan Moore And Damion-We Are-One, One, All In One Used - Vinyl - CS 9787 1970 360 Stereo Gatefold Original. 2A/2A Matrixes. An Oblique Downer Of A Record, Hardin's Lyrics Are At His Most Incomprehensible, And The Instrumentation/Effects Lends To A Completely Druggy Feel. more
	Suite For Susan Moore And Damion-We Are-One, One, All In One New - Vinyl - CS 9787 Sealed 1970 360 Stereo Gatefold Original With Custom Album Hype Sticker On Shrink Wrap, Tiny Saw Notch. An Oblique Downer Of A Record, Hardin's Lyrics Are At His Most Incomprehensible, And The Instrumentation/Effects Lends To A Completely Druggy Feel. more
	The Homecoming Concert Colored Vinyl - LILP 4.00040 J 1981 German Only White Vinyl Original Recorded On January 17th, 1980 At The Community Center For The Performing Arts, Eugene, Oregon. Tim Hardin Is Unaccompanied And Splits Time Between Guitar And Piano. His Voice And Style Have Matured, And This Might Be His Recorded High Point. Couple Ticks At The Start Of Side 2, Hence Price. more
	The Memorial Album New - Vinyl - PD-1-6333 Rare Sealed 1981 Original Pressing. Tim's Life Was Cut Short But His Music Has Left An Indelible Influence On The World. "If I Were A Carpenter", Covered By, Among Others, Bobby Darin, Joan Baez, Johnny Cash, The Four Tops, And Robert Plant; His Song "Reason To Believe" Has Been Covered By Many Artists, Including Rod Stewart. more
	Tim Hardin (Golden Archive Series) New - Vinyl - GAS 104 Sealed Compilation Of Tracks From Hardin's First Three Studio Albums. more
	Tim Hardin 1 Used - Vinyl - FTS-3004 1966 Stereo Original. Tim Hardin was an influential American folk musician and songwriter, renowned for his introspective lyricism and emotive vocal delivery. Emerging in the mid-1960s, Hardin became a key figure in the folk revival scene, gaining recognition for timeless compositions such as “If I Were a Carpenter” and “Reason to Believe.” His music, characterized by soulful melodies and poetic storytelling, resonated with both critics and audiences, leading to widespread covers of his work by prominent artists like Johnny Cash, Bobby Darin, and Rod Stewart. Hardin’s recordings are notable for their sparse arrangements, often featuring acoustic guitar and subtle instrumentation, which highlight the raw vulnerability of his songwriting. Tim Hardin’s debut album, commonly referred to as "Tim Hardin 1," remains a seminal release in the folk and singer-songwriter genres. Released in 1966, the album showcases Hardin’s ability to blend folk, blues, and jazz influences into a unique sound. Tracks such as “Misty Roses” and “How Can We Hang On to a Dream” exemplify his gift for crafting emotionally rich and relatable songs. Despite a career marked by personal challenges, Hardin’s artistry has left a lasting legacy, influencing generations of musicians and continuing to attract new listeners seeking authentic, heartfelt music. more
	Tim Hardin 3 Live In Concert Used - Vinyl - FTS-3049 1968 US original MGM pressing with wider pressing ring. Corner ding and ring wear. "Originally titled Tim Hardin 3, this set was recorded live in 1968 with a backing band comprised primarily of jazz musicians. The support crew is a bit tentative; it's evident that they hadn't played much with Hardin, and in places the tempo comes close to breaking down. It's still a good, effective performance; Hardin is in good voice (a condition which apparently couldn't be readily counted on, even in his early days), and on the songs that had already been released on his first two albums, the arrangements vary from the recorded versions in interesting fashions. Live in Concert includes renditions of most of his best early compositions ("If I Were a Carpenter," "Red Balloon," "Reason to Believe," "Misty Roses," "Lady Came From Baltimore," "Black Sheep Boy") and half a dozen Hardin originals that didn't make it onto his first pair of albums. The best of these is the Lenny Bruce tribute, "Lenny's Tune," which Nico covered on her first solo album (where it was retitled "Eulogy to Lenny Bruce"). The 1995 CD reissue of this album adds three previously unreleased bonus tracks from the same concert." All Music Guide – Richie Unterbeger more
	Tim Hardin 4 New - Vinyl - FTS 3064 1968 US stereo original. Nice VG++ copy. "This collection of Tim Hardin's demos, recorded in 1964 as an audition for Columbia Records, was released in early 1969 by Verve/Forecast as though it were a newly recorded album. This did not amuse Hardin at the time, and the recording did nothing to enlarge his audience. However, the album holds some interest as a historical document. It's a batch of blues songs, highlighted by John Sebastian's harmonica playing, mixing covers of Chess blues classics with Hardin's original, though derivative, blues songs. "Airmobile" sounds like a direct rewrite of Chuck Berry's "You Can't Catch Me," and "I Can't Slow Down" borrows from Robert Johnson's "Crossroad Blues." The arrangements employ an understated, low-key folky mix as opposed to a more overt Chicago electric blues sound. Still, there's more drive to the music than on a typical early-'60s folk album. This is not essential listening by any means, but it's pleasant enough to hear on a lazy, cloud-covered afternoon." All Music Guide - Jim Newsom. more
	Unforgiven Audiophile - Vinyl - SFS 10810 1981 Limited, Numbered Edition Half-Speed Master Housed In A Gatefold Cover With Shrink Wrap Intact. Recorded Just Before His Death, This Rare Album Features Eight Of Ten New Tracks He Was Going To Release As His Comeback Album. Two Tracks Are Home Demos And The Other Six Are Fully Finished Studio Recordings. This Gentle Singer Owed As Much To Blues And Jazz As He Did Folk. "Secret," The Last Track On Side Two Is Particularly Haunting. This Is Number 2726. more
	Unforgiven Audiophile - New - SFS 10810 Factory Sealed 1981 Limited, Numbered Edition Half-Speed Master, Gatefold Cover Mega Rarity. Recorded Just Before His Death, This Rare Album Features Eight Of Ten New Tracks He Was Going To Release As His Comeback Album. Two Tracks Are Home Demos And The Other Six Are Fully Finished Studio Recordings. This Gentle Singer Owed As Much To Blues And Jazz As He Did Folk. "Secret," The Last Track On Side Two Is Particularly Haunting. more
	Unforgiven New - Vinyl - SF 10810 1981 Pressing. Slight Corner Crease. Recorded Just Before His Death, This Rare Album Features Eight Of Ten New Tracks He Was Going To Release As His Comeback Album. Two Tracks Are Home Demos And The Other Six Are Fully Finished Studio Recordings. This Gentle Singer Owed As Much To Blues And Jazz As He Did Folk. "Secret," The Last Track On Side Two Is Particularly Haunting. more
	Unforgiven Used - Vinyl - SF 10810 1981 US original, non-gatefold/non-numbered pressing. Vinyl shows hairline sleeve scuff but still a nice listen. The last record released before his death. Produced by Caroline & Don Rubin. Features Nicky Hopkins on certain tracks. more