This new link shows that he has others for sale...
Obviously the seller is a "Close to Mitchell" source. Remember, it also comes with a signed Mitchell letter, and as someone who knows Mitchell well, it is no surprised that he has either passed (or sold) this on. How else do you think the seller was able to snap that recent photograph?
1965 - 1968
Summer - 7” Acetate
Rock Me Baby/ Telephone Blues
Barry Mitchell first acetate recorded 1965, Barry’s front room (includes Alan Parsons). Usual line up - Vocals: Ian Harris, Guitar/ vocals: Alan Parsons, Guitar: Alan Owen, Bass: Barry Mitchell, Drums: Phil Brockton. Only 5 copies cut.
Began life as a soul band around 1965 – 66, as the brainchild of lead vocalist Ian Harris, playing mainly Ottis Reading and Commitment type covers. Converted to Blues circa 1967, when they played such illustrious places as Ronnie Scott’s Blues Club – where they were compared to the likes of Cream and Fleetwood Mac.
By 1968 totally psychedelic, converted to hippies, and started writing own material. Spotted by American A&R man Doug Mews of Mercury Records – who was specifically searching for a “London” sound. 1969
January 10 Conviction recorded an album’s worth of material at De Lane Lea Studios for release on the American market. Mercury wanted to change the band’s name to London, the band preferred Earth, and wanted the album to be called Metamorphous or some other psychedelic title. Recorded in the same studio as the Bonzo Dog Doo Dah Band’s Doughnut in Granny’s Greenhouse album, the eponymous LP Earth, although never issued, was cut as a 12” acetate (of which only a solitary copy seems to exist). This record is not only valuable because it features a very young Alan Parson’s but also highlights future Queen bassist Barry Mitchell.
Recorded January 10 1969, Mercury Records, De Lane Lea, London. Produced by Douglas Mews.
Blues Tattoo (Mitchell). Don’t See You Much (Mitchell wrote bass). Song To
Katherine (Ray Quilly – only drafted in for the day).
Vocals: Ian Harris, Alan Parsons: Lead guitar/ acoustic guitar, flute, Organ/ mouth organ: Ray Quilly, Bass guitar: Barry Mitchell, Drums: Phil Brockton.
Miseducation, Sea Of Faces, Earthworm, Rain On The Roof, Something Above Us, Blues Tattoo, Don’t See You Much, In The Land Of The Blind, Angel Of Death, Song To Katherine.
After the departure of original Queen bassist Mike Grose, Barry’s friend Roger Crossley, who had met Roger Taylor, set up an audition at Imperial College. After passing the audition, Barry was invited to join, and like Brian and Roger, brought a degree of hardened studio professionalism to the struggling out-fit, and also, coincidently cut unreleased material for Mercury Records, specifically aimed at the US market.
This new Queen practiced a variety of material. Covers of Jimmi Hendrix’s Electric Lady and Voodoo Chile proved to be particular favourites, as did, Shirley Bassey’s Big Spender and Cliff Richard’s Bachelor Boy. Live sets included the old Wreckage number Stone Cold Crazy, and the perennial Elvis Presley and Little Richard encores.
A particular highlight for the band (and Brian in particular) was the appearance of the Tornados guitarist Heinz (Just Like Eddie), at their first Imperial College gig. Brian May amassed a large private collection of band photographs during this period, but unfortunately none seem to survive.
January 9 Ewell Technical College, Surrey
Barry Mitchell's final gig, supporting Kevin Ayres And The Whole World Band and Genesis. The set was recorded by Ken Testi on a Grundig reel to reel - due to technical difficulties (mangled/chewed tape), only the encore remains.
Jailhouse rock, Stupid Cupid, Bebopa Lula, Big Spender, Bamalama Lamaloo
"Listen to them. Children of the night. What music they make."