You would need at least two lives to listen to the entire discography of all the prog-psych UK bands from the late 60s to early 70s. Funnily enough, some of them just needed a two-four-year career to record a bunch of LPs and make musical history, underground history anyway. Although Blonde on Blonde achieved only modest commercial success, their second album, Rebirth, is an exquisite piece of progressive rock that should not remain under the radar to those into melodic progressive rock. By the end of 1969 they had just signed a new contract with Ember Records to follow their debut and unsuccessful album on Pye (Contrast, 1969). A new vocalist, David Thomas, had just joined the band and their live sound was tight and heavy. They toured non-stop across London’s hippest clubs and shared bills with artists such as Georgie Fame, Deep Purple, Genesis or Alan Price. But their solid and raw playing also tried to encompass other more subtle sounds in the recording studio, resulting in a well balanced mix of dramatic singing and progressive instrumental backgrounds. ‘Colour Questions’ echoes that outstanding power shown by the band on stage while ‘Broken Hours’, the first song ever written by David Thomas, shows their more melodic and balanced side without this meaning any energy loss. ‘November’ and ‘Time Is Passing’ add some elements of folky psychedelia to the band’s recipe, undoubtedly a focused and magic body of music that stays strong until the very last note on the epic closing track ‘You’ll Never Know Me/Release’.