“Too Long Gone”. The end result is a mature, well- conceived collection of indomitable covers and authentic original material, which despite a certain sophistication never losses the electric edge that defines a sound that Taylor has been mastering and building upon all these many years. For those of us familiar with Tim Taylor’s work, there is almost an illusion that he somehow emerged from the womb already fully schooled in the harmonica licks of Little Walter. But truth be told, just as it was with the vast majority of teens in the late sixties and early seventies, Taylor was exposed to the standard hippie rock faire that wafted from festival stages and radios alike. That was until a chance attendance of a performance by The Ken Lyons Blues Band. The stark difference in their approach from the other acts on the bill, as well as the strange new sound of highly amplified harmonica transfixed the young Taylor, who by his own admission “was psychedelically enhanced at the moment”. In reference to his early recollections of the harp player, Taylor recounts: “To tell you the truth, I didn’t know what he was doing. I just heard this sound. He had his hands up to his mouth...he was making this big enormous sound. I got closer and realized he was playing just a regular little 10-hole harmonica. And that was it, I was hooked.” In the ensuing years, Tim Taylor began to fully immerse himself in the performance styling of harp legends like James Cotton, Sonny B