Trilogy For The Masses opens with the Theme For The Masses, the main theme that connects the whole of the album together. Played in a form of lament, the track is rich in both strings and organ very similar to a style that would be utilised by many of the proto-progressive rock bands such as Procol Harum and The Moody Blues. The subsequent track, 101 Harrison Street is a clear indication of the times. Featuring a lengthy and mesmerising guitar solo accompanied by a hypnotic continuous rhythm, this piece of music is a sure sign of the psychedelic drenched times the band were living in. This was the year of Woodstock and the height of flower power, and one can easily envisage this track being played endlessly with one solo being meted out after the other. Excerpt (From the Theme) resurrects the opening theme to then lead into Back To Philadelphia, a track that would also be utilised for the bands second album, Time Changes. Slow paced and laid back, this track in contrast to 101 Harrison Street, lays more emphasis on the guitar work rather than having the organ dominate the sound of the music. Both Sides One and Two are linked by the short echo-filled The Race. A name that comes to mind after hearing From A Back Door Window (The Search) would be legendary group Love. Ford Theatre manage to exude a certain amount of power and anger without letting it get in the way of their musical arrangements and without compromising their ability to incorporate ear-catching choruses in their music. This lengthy track also manages to combine the two distinct musical touches that the band had expressed so far on the album, that of a more guitar orientated rock feel as well as that of the R&B organ dominated sound. Well, From A Back Door Window (The Search), has both these elements with an extremely pleasant organ solo coupled with lengthy guitar work. Once again the emphasis seems to be on the ambient that the instruments manage to create with their obvious psychedelic allusions capable of Theme For The Masses resurrects its head in bringing the album to a close with Postlude: Looking Back, the only composition credited entirely to Harry Palmer on the album. Musically this track is strikingly different to the remainder of the album as it is devoid of the elaborate arrangement present on the album giving this pleasant track an almost country rock feel to it. This is one album from my record collection that somehow finds itself regularly on the turntable. There is something innocent and unique about the sound of the album that is hard to find in many albums from this era. Musically I feel that it is a gem and should appeal to all those who like what is often termed as proto-progressive rock.