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Daughter Of Time Extra tracks, Original recording remastered

4.5 out of 5 stars 10 customer reviews

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£6.89 & FREE Delivery in the UK on orders over £20. Details Only 1 left in stock. Dispatched from and sold by Amazon. Gift-wrap available.

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Frequently Bought Together

  • Daughter Of Time
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  • Valentyne Suite
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Total price: £18.12
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Product details

  • Audio CD (24 Nov. 2008)
  • Number of Discs: 1
  • Format: Extra tracks, Original recording remastered
  • Label: Sanctuary
  • ASIN: B0002HV64U
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Bestsellers Rank: 49,590 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Three Score And Ten, Amen
  2. Time Lament
  3. Take Me Back To Doomsday
  4. The Daughter Of Time
  5. Theme For An Imaginary Western
  6. Bring Out Your Dead
  7. Downhill And Shadows
  8. The Time Machine
  9. Jumping Off The Sun

Customer Reviews

4.5 out of 5 stars
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Top Customer Reviews

Format: Audio CD
This was the first "rock album" I ever bought in early 1971. I obviously still have the vinyl copy...actually I've just dug it out to look at it whilst writing this...the CD enables a casual listen in the car, at work or loaded on to the absurdly tiny 20gb music thingy my son gave me.

Each track is an exercise in individual musicial work of the highest order by a band which had yet to peak as it introduced Dave Clempson and Chris Farlowe to an eager fan base.

Sadly only 'Colosseum Live' was to come for an overly long period of time...what this band might have achieved, had they avoided piques, is anyone's guess.

To see them now is to realise that the peak was achieved. Don't believe me...watch the 1994 Reunion DVD, see them live and get the bug.
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By Victor HALL OF FAMETOP 500 REVIEWER on 12 Mar. 2009
Format: Audio CD Verified Purchase
Having bought this because I like Chris Farlowe, I was quite stunned. A superb album, proto 'prog rock', but avoiding all the self indulgent excesses of that genre. It's got everything, superb, complex rhythm and melody, meaningful lyrics and extended cuts (which never bore).

There are a mix of styles here, blues and jazz mixed with rock and a hint of soul. It works though.

Would happily recommend this to anyone who is wiling to listen to something a little ouside of the usual boxes pop music seems to fall into.
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Format: Audio CD Verified Purchase
There were a lot of excellent jazz-rock / rock-jazz / jazz fusion groups on the scene around this time - the Keef Hartley Band, Soft Machine, Weather Report, Mahavishnu, Return to Forever... - but Jon Hiseman's Colosseum were one of the very best, and they aren't sufficiently recognised as such. I admit to some sentimental nostalgia here, as 'DoT' was the first vinyl album I ever bought, in late 1970. I've just listened to it again on CD for the first time in many decades, and it's as excellent as when I first heard it all those years back. Hiseman should be spoken of in the same bracket as Tony Williams and Billy Cobham, but for some unknown reason never seems to be. And this version of the band - Hiseman, Farlow, Greenslade, Clempson, Heckstall-Smith - was quite outstanding. There are some wonderful tracks on this album, but I still think the title track ('DoT') just about shaves it. Do give this album a chance if you've not heard Colosseum before - or of course you can savour the legendary, incomparable 'Valentine Suite'.
Richard House
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Format: Vinyl Verified Purchase
If you buy this album you already have (or will definitely need) its sisters - Those Who Are About To Die Salute You, Valentyne Suite and the live double album. They form a sort of 'prog' rock prospectus on behalf of the crossover movement from acoustic jazz to electric rock, from improvisational combo to score-driven concept sequences. They were a great live band in those early days and every time I hear one of their discs Ian image of Dick Heckstall-Smith playing two brass instruments at once floats into my mind. Their best music was actually with Neil Ardley and the scratch New Jazz Orchestra of which there is only one recording, A CD titled Camden 70. I saw them all play what was the Lanchester Polytechnic in Coventry back in the day and they were phenomenal. This was the first time I had ever seen a proper PA and indeed the Orchestra pioneered this new idea of amplification with all instruments going through a mixing desk, amplaifier and loudspeaker stacks instead of each player having his or her own instrument amplifier.
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Format: Audio CD
You see, my father liked Jazz. Well, no-one's perfect, I suppose. I was brought up listening to Dave Brubeck, Ornette Coleman et al, so, of course, I hated them with a vengeance. For me it was The Beatles, The Stones - good old fashioned pop music. However, one of the grown-up lads who lived across the road (he must have been 16!) loaned my father a copy of 'Daughter of Time' by Colosseum. We sat down to listen and almost before the first track had started, he hated it. He talked all the way through it. 'Call this music?' he said. At this time I didn't think much of it either, hating anything 'jazzy'. However, after it had finished playing I took it to my room and listened on my headphones. It was a revelation, and by the time it had reached 'The Daughter of Time' (Track 4) I was hooked.

Here was a band of Musicians - with a capital letter. Not your 3-chord, guitar strumming pretty boys, nor a rhythm section that simply kept time, these were MUSICIANS. Every note, every phrase was exactly where it was meant to be. Every change of chord or time signature added to the overall sound. The fusion of jazz, blues, and what we now know as prog-rock (although it was then in its infancy) made something greater than them all.

It seemed as if the fusion of all these styles and musicians brought out the best in them all. I had heard Chris Farlowe on the 'Out Of Time' single' (1966?) but here his voice moved into another league. We had all heard Jimi Hendrix contort his guitar sound, but here Dave Clemson made his guitar sing - the last minute or so of the title track is amongst the greatest pieces of guitar playing you are likely to hear, it's tone and dynamics are similar to those Mike Oldfield used, especially in 'Ommadawn'.
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