This seven-member, late-’60s NY group is nearly exclusively remembered because among their two female vocalists was a dark-haired Deborah Harry, nearly ten years before she became a star with Blondie. The Blowing wind within the Willows’ music cannot have been a lot more unique of Blondie’s. It had been twee folk-psych-rock, generally comprised of first material, though non-e of it had been penned by Harry. The number of music was fairly different, getting into somewhat spacy sunlight pop, poor vaudeville rock, addresses of songs with the Everly Brothers and Roger Miller, an eight-minute reading (entitled “THERE’S But One Truth, Daddy”) from Kenneth Grahame’s The Blowing wind within the Willows with muted ambient psychedelic support, and pastoral ballads with echoes from the Mamas & the Papas and Donovan. The songwriting had not been strong as well as the attitude much too valuable. Harry, an nearly unrecognizable brunette in the cover photos, had taken an extremely subdued role. Even though album was regarded as a significant rarity (and costed appropriately) after Harry became well-known in Blondie, it do actually make the graphs by barely addressing number 195. That isn’t high, but it’s a whole lot higher than a huge selection of various other psychedelic-era rarities got. The record became easier to listen to after it had been reissued on Compact disc.