Planxty – Words & Music
Label: WEA/240101 1 | Release: 1983 | Genre: Irish-Folk
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The last of the official discography of Planxty. There is a loss of that signature sound that made them famous : The traditional and rustic irish-folk except of course, for the noble Liam O’Flynn, that keeps your sound intact.
But why?
Because, if I using my logic, memory and point of view, we were in the eighties (1982 to be precise). Which group did not succumb that artificial sound to the eighties? That decade (my decade of life), was the turning point in terms of what was the excellence music.
Well, unfortunately fell into a pseudo-pop-folk. The classic wear after the first ten years of life. The disc itself is a collector’s item and can not be unaware the fame of its members, vocal and instrumental quality is the same , the opinion expressed is personal.
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Planxty – The Woman I Loved So Well
Label: Tara/TARA 3005 | Release: 1980 | Genre: Irish-Folk
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The original lineup of Christy, Andy, Liam and Donal reformed Planxty in 1979. They recorded three further albums including After the Break and The Woman I Loved So Well. There were several additions and changes to their lineup most notably the addition of Matt Molloy, flautist from the Bothy Band, and later with The Chieftains.
Planxty with Matt MolloyOthers included fiddlers James Kelly and Nollaig Casey on Words & Music, Bill Whelan, later of Riverdance fame, plays keyboards on The Woman I Love So Well as do concertina/fiddle duet Noel Hill and Tony Linnane. In 1981, Planxty performed a Bill Whelan arrangement called Timedance as the intermission piece during the Eurovision song contest, held that year in Ireland, and later released it as a single (and included on Bill’s The Seville Suite album released by Tara in 1992.
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Planxty – After The Break
Label: Tara/TARA 3001 | Release: 1979 | Genre: Irish-Folk
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The gravest danger in the resurrection of Planxty was always that, in attempting to recreate the extraordinary verve and majesty of their original incarnation, they neglected natural current instincts and succeeded only in becoming a parody of their former selves. That they managed with ease to avoid this considerable pitfall alone makes this a great record.
Naturally there’s no conceivable way that “After The Break” can manage the same impact as their bold debut LP, purely because “Planxty” came first and hit upon a blend that evidently inspired all those involved. If “The Well Below The Valley” and “Cold Blow The Rainy Night” fell short of it (albeit narrowly) then it was because that sharpness and charged sense of restrained dynamics had to a small degree dissipated. On several tracks here notably “The Rambling Suiler”, “The Pursuit Of Farmer Michael Hayes”, and two sets of reels, it’s fully recaptured.
Yet the track that defiantly declares that they are looking ahead and not behind is “Smeceno Horo”, a frantic Bulgarian dance tune that’s proved so popular on gigs it even merits a “FEATURING SMECENO HORO” sticker on the sleeve. A joker in the pack, it’s a complete departure from everything they’ve done before, even allowing for some of Andy Irvine’s flirtations with Eastern European music in the past. Undeniably invigorating and infectious, it’s nevertheless my least favourite track on the record, jarring in relation to the rest of the album, but I admire their resolve in tackling it. It comes over much more powerfully live.
The only other real quibbles are that Christy Moore (on “The Good Ship Kangaroo” and Andy Irvine (on “You Rambling Boys Of Pleasure”) seem to take the understated vocal style perhaps a shade too far, or maybe the vocals are a fraction too low in the mix. But these really are details – the arrangements around both tracks are superb, the instrumental break tagged on to the end of “The Good Ship Kangaroo”, the opening track, stirring memories of “Raggle Taggle Gypsy” and “Tabhair Dum Do Lamh”, “The Rambling Suiler”, a Scots moral tale of a colonel who dresses up as a beggar and pulls a farmer’s daughter, and “The Pursuit Of Farmer Michael Hayes”, a geographical guide to Ireland through the eyes of a fleeing murderer, are both vintage Planxty.
Matt Molloy and Liam O’Flynn are at the helm of the instrumental tracks (two sets of reels and one of double-jigs) and two things emerge. One is that Liam O’Flynn has become an even more accomplished piper than he was before, and that Matt Molloy’s brief contribution on flute was greater than it actually appeared on stage. His blend with O’Flynn is mesmerising here.
This is of course, an essential album.
Colin Irwin review for Melody Maker 15/12/79)
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Iron Maiden – Live After Death (1985, 2LP)
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… 2 LP Gatefold Sleeve with tour photos + 8-page 12″x12″ book with tour credits and crew photos …
Iron Maiden’s World Slavery Tour was one of the longest and most extensive tours ever undertaken by a rock band. Lasting from August 9, 1984, to July 5, 1985, and visiting such countries as Poland, Austria, Hungry, Yugoslavia, Italy, France, Spain, Portugal, Scotland, England, Germany, Sweden, Canada, Japan, and the U.S., the show included a mammoth setup that replicated the intricate ancient Egyptian scenery of the Powerslave album cover. As a “thank you” to the hundreds of thousands of fans who packed arenas the world over, the double-LP live set Live After Death was issued in 1985 (and first reissued as one CD, without several songs). The album is essentially a best-of of sorts, since most of their singles released up to this point are featured in all of their high-decibel glory. Live After Death is easily one of heavy metal’s best live albums.
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Nektar - A Tab In The Ocean
Label: Passport Records/PPSD-98017 | Release: 1972 | This Issue: 1976 | Mastered at Sterling Sound | Genre: Progressive-Rock
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From the opening strains of a monumental organ theme you know this is going to be Prog Heaven. Right on cue the band crashes in and off we go on a roller-coaster ride of majestic proportions. It is a journey that will take us stomping through rough seas of real heavyweight guitar action, sometimes floating lightly on a calm sea beneath the stars of some mellow verses, bobbing bemused on confused waters of quick-fire disorientating theme changes, or surfing serenely on giant Atlantic rollers as riff follows giant riff.
Along the way we open doors into worlds of such delight that no listener will be able to resist, wow moments that cause an involuntary physical reaction, maybe to break into a beatific grin accompanied by a sudden urge to thump something rhythmically. These guys had hit a rich seam of creativity at this time and few bars are without something exciting happening, toying with our emotions and leaving us wanting more.
Based on trademark riff structures from multi-tracked guitars, title track A Tab In The Ocean has a genuinely complex Symphonic Prog structure, with continuous organic progression throughout, awash with key, tempo and mood changes in an ever-flowing monster of a piece. It even has a final sting in its tail with a fantastic guitar motif at 16:00 that is gone before it has time to sink in. A Tab In The Ocean is one of those beloved ‘epics’ that ought to stand proud alongside Tarkus, Supper’s Ready and Close To The Edge as a shining example of the best of Prog.
After a noisy start, Desolation Alley settles into a cool groove, jazz-inspired but with a hint of Floydian blues too, notable by some lovely touches from organ and bass. A mid-song instrumental ups the tempo with guitars and organ bashing away as the bass holds tension. Later, a languid mood is maintained by the wonderful Waves with its spoken vocal, an old Moody Blues trick and very well executed.
Crying In The Dark begins quietly, slowly building tension until a killer riff is finally unleashed. Forever shifting and changing within a hard rock framework, the track proceeds with organ and guitar soloing to segue into King Of Twilight which continues the mood with staccato percussion and a welcome touch of Mellotron choir. It also contains some stunning instrumentals including thrusting power space rock, and it rocks off to an unexpected abrupt end on the word ‘free’. Rock doesn’t get much better than this!
One thing about Nektar – each album had its own special imprint, a character quite distinct from its siblings. A Tab In The Ocean is their most overtly Classic Prog, less psychedelic and more assured than Journey To The Centre Of The Eye, darker and less ‘vocal’ than the funkier, more mainstream road they would later travel. Despite Albrighton’s dominant, almost virtuoso, performance on guitar, there is little soloing as such, just lots of solid riffs and structured progressions dripping with Prog quality oozing from every pore.
Aside from his uplifting guitar, Albrighton’s singing is fine without being special or noteworthy, perfectly in keeping with the mood of the music. Taff Freeman plays a mean Hammond throughout, only occasionally jumping to something different, but is slightly too recessed in an otherwise excellent transparent production. Mo Moore’s bass playing is always strong, and quite forward, often playing semi-lead runs like Jon Camp of Renaissance as a counterpoint while at other times laying a solid foundation for the others.
A Tab In The Ocean was remastered and released in 2004 by Dream Nebula with two versions on the CD – the original German 1972 mix, and a vastly inferior USA 1976 version. Sound is good, though there would appear to some slight problems with a wobbly bottom on one or two occasions. It is presented with a decent booklet containing lyrics and extensive interesting notes.
In the 1970s, Nektar passed underneath my radar, as they must have for most British Prog fans of the time. It was only later I discovered them and soon realised the error of my ways, but I still find it sad they don’t command the same respect as Yes or Genesis. A Tab In The Ocean remains a phenomonal achievement, well deserving of a place in all classic Prog collections.
And all this arose from a chance remark, while admiring the antics of some captive fish, wondering what would happen if someone dropped a giant tab in the ocean!
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Lavilliers – O Gringo
Label: Barclay/92 038/39 | Release: 1980 | Genre: Pop-Rock
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Bernard Oulion born October 7, 1946 in Saint- Étienne1 . He grew up in a very modest environment , lulled by the working class. His father, also a trade unionist, is used in the manufacture of weapons of Saint -Étienne (MAS ) and his mother is a social worker . Her education plays a big role in his approach to music . He explained that it is indeed his parents give him the passion for tropical rhythms, Puerto Rican jazz and classical music . It also benefits from its four years of music with the turntable we offer him for his birthday . Pulmonary ill during his childhood, his parents moved to the suburbs away from the pollution of Saint -Étienne . At 16, he became an apprentice turner metals MAS and also turns to boxing . He stays in the house of correction after some thefts. Upon his release , he began to work . The work itself seems tasteless, he later wrote : ” At this time of my life , I was looking for: I do not know if I ‘d gangster , boxer or a poet … ” . He joined the Communist Party in 1963. At 18 , Saint -Étienne , he participated in a first mounting Nocturne (text – songs) created by Duk troupe (led by Pierre- René Massard ) , alongside another young Etienne , Alain Meilland , future co-founder of Printemps de Bourges in which he participated in numerous occasions.
At age 19 he moved to Brazil, where he returned a year later. It is considered to be rebellious and he was interned in the fortress of Metz for a year. This period of his life, often repeated in different ways by the media , is the subject of controversy focusing on the consistency of dates and veracity of faits3 . Upon his release, he began singing in nightclubs on the left bank in Paris: Chez Jacky Scala, Lacepede street is also found in the Court of Miracles in Bordeaux with Gilles Elbaz, Germinal , Gérard Ansaloni . He released in 1967 his first 45 laps. He won the prize of the Golden Rose at Montreux song with The Swank . His first album was released in 1968 , with its first title and an enigmatic ” Lavilliers ” who became his stage name . During the events of May 1968, he sang in the occupied factories in the Lyon region . While crisscrossing France and have difficulties to break into the music, he plays a few months in cabarets province in June , he begs in Britain. He held several odd jobs ( restaurant , nightclub manager in Marseille … ) and married in 1970 with Evelyn . The same year he released a 45 simple4 under the name of ” Edgar Lyon ,” with Camelia blues and Juliet 703 titles .
He released his second album in 1972, The Poets and begins to have a certain reputation , which was confirmed in 1975 with the Etienne ( including securities and San Salvador Saint Etienne ) . Consecration occurs in 1976 with The Barbares5 . He describes this album as musical turning point in his career. It reveals indeed a musical mix ranging from rock to funk, tropical rhythms. He passes for the first time at the Olympia in October 1977. It was at this time that he met Léo Ferré, a model for him. In favor of a joint tour in 1977 (which also involved the Magma and Gong groups) , the two men become friends. Lavilliers also invite his older singing with him at the Fête de l’Humanité in 1992 and will be a tribute concert to the works of Ferré in 2006 in Lyon with her usual musicians and the National Orchestra of Lyon . A DVD of this concert will be released in 2009 under the name Lavilliers Ferré sings .
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Jan Akkerman & Kaz Lux - Eli
Label: Atlantic/SD 18210 | Release: 1976 | Genre: Rock-Fusion
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Out of limited number of albums that I have on Jan Akkerman’s solo works, this is the album that I like most for a very simple and basic reason: the music is nice even though not that progressive or not that jazz. It’s probably there is an addition of vocal with Kaz Lux that makes it an excellent collaboration. Not only that, the music represents what kind of music in the seventies in terms of recording quality as well as how the music was composed. Look at “Guardian Angel” that flows very nicely from start to end giving intense nuances of vintage or classic rock sounds. The instrumental “Tranqualizer” is also a good one to enjoy. I do enjoy how the flow and groove of “Can’t Fake a Good Time” move from one piece to another – it’s very enjoyable. I can find it also with “Eli” which demonstrates excellent quality of Kaz Lux voice. Of course there are some disco-style music like “There he still goes” but it’s OK as a break.
It’s hard to believe if you claim yourself as someone who loves vintage rock music for not liking this album. Yes, it’s not that progressive or jazzy, but the feels and nuances of the music are really great.
At first I did not realize that this excellent album was backed up with talented musicians like Rick van Der Linden as well as singer Maggie McNeal.
On the basis how the composition was made and how the music flows in the entire album regardless it’s progressive or not, I consider this one is an excellent album. Keep on proggin’ ..!
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Invisible – Durazno Sangrando
Label: CBS 119467| Release: 1975 | Genre: Progressive-Rock
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Tracklist:
Side A
1. Encadenado Al Ánima 15:52
2. Durazno Sangrando 3:53
Side B
1. Pleamar De Águillas 4:29
2. En Una Lejana Playa Del Animus 10:14
3. Dios De Adolescencia 2:55
Illusion – Out Of The Mist
Label: Island Records/ILPS 9489 | Release: 1977 | Genre: Progressive-Rock
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Think of Illusion, think of Renaissance. The history of the two bands is very much intertwined, and while the band bearing the name Renaissance came out on top in terms of success and longevity, the quality of Illusion’s output should not be underestimated. Of the Renaissance line up which recorded the confusingly titled “Illusion” album and which subsequently disbanded, only the late Keith Relf is missing here. Pre-Annie Haslam vocalist Jane Relf has a fine voice not unlike Haslam’s, further emphasising the similarities between the two bands.
The emphasis here is very much on strong melodies, the songs being generally straight forward yet sophisticated, with pop influences and symphonic overtones. The opening track, “Isadora” is a strong lead off piece with hints of prog, male/female vocal harmonies, and a very appealing tune. Keyboard player John Hawken provides some excellent piano here as he does throughout the album, his quasi-classical style coming through predominantly.
Elsewhere, “Everywhere you go” and “Face of yesterday” prolong the highly melodic aspect of the album, the former being a particularly uplifting song, while the latter is more in the vein of the title track from Renaissance’s “Prologue” album, especially in the non-lyrical vocal sections. The closing track “Candles are burning” has obvious similarities with the title track from the previously released Renaissance album “Ashes are burning”. It is by far the most progressive track, running to over 7 minutes, with a driving rhythm and soaring synthesisers, behind a Curved Air like composition. The vocals are particularly powerful here, the track making for a wonderful climax to the album.
There are a mere seven tracks in total, the second side of the LP being particularly short. The three tracks I have not mentioned continue the melodic theme, “Solo flight” being notable for its 60’s West Coast pop feel.
In all, a highly enjoyable collection which will naturally appeal to those who enjoy the 70’s music of Renaissance.
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If – If
Label: Capitol Record/ST-539 | Release: 1970 | Genre: Progressive-Jazz
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Formed in 1969, If had already seen a change of line up (on the drum stool) by the time they came to record their début album released in 1970. Conveniently pigeon-holed as Britain’s answer to the jazz rock of Chicago and Blood Sweat and Tears, there are in fact noteable differences between If and those bands. The twin saxophones in an otherwise standard rock line up give obvious hints of the band’s leanings, but If were perhaps less concerned with catchy hooks and hit singles than their peers from across the pond. That said, there are echoes of David Clayton-Thomas in the fine vocals of J.W. Hodkinson.
The opening “I’m reaching out on all sides” (a track I first came across many years ago on the superb “Bumpers” sampler) actually features the lead guitar of Terry Smith more, the saxes being used to provide colours rather than as a lead instrument. The song makes for a superb introduction to the band. John Mealing, who would later go on to join the Strawbs, lays down a solid Hammond organ base for the instrumental “What Did I Say About the Box, Jack”, the longest track on the album. The track offers Dick Morrissey (subsequently Average White band) the chance to display his skills on flute as part of what is a largely jazz workout.
“What Can a Friend Say” reminds me a bit of the Ides of March song “Vehicle”. The rock side of the band returns, driven on by some fine gravel vocals, the centre piece of the song being a lengthy sax workout.
The second side of the original LP has four tracks to the first side’s three. As might be implied, this means that the songs on this side are generally slightly tighter, although very much in the same vein. “Woman Can You See (What This Big Thing Is All About)” is an upbeat affair, with frantic vocals driven on by a pounding rhythm section and punchy saxes. There are suggestions here of songs such as Chicago’s superb “25 or 6 to 4”.
The three minute “Raise The Level of Your Conscious Mind” is by far the most accessible song on the album, and might have made a successful single. The track boasts a Guess Who type sing-a-long chorus and a wall of sound backing. “Dockland” slows things down somewhat, the track offering a Traffic like folk/fusion take on painting a picture of a “Dockland scene”. The track offers Hodkinson the opportunity to really emphasise his vocal prowess.
The album closes with “The promised land”, a track which does lean heavily on Blood Sweat and Tears for its inspiration. Mealing gets a final opportunity to add to fine keyboards to another pulsating jazz rock number.
In all, a fine début from a band who made some excellent music. In some ways, If were unlucky to be around when so many other great bands were trying to make their mark. It is perhaps time now for a reassessment of their excellent music, it deserves far more recognition that it gets.
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Christy Moore – Christy Moore
Label: Atlantic/7 81835-1 | Release: 1988 | Genre: Pop-Folk
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This self-titled album, Christy Moore’s first on Atlantic Records, seemed intended to introduce him to a wider audience, possibly including American listeners. The album cover includes quotes from Irish music celebrities like Elvis Costello, Shane McGowan and Bono, describing Moore as the “greatest living Irishman” and the Irish equivalent to Woody Guthrie. These endorsements are true enough, but the album they promote proceeds to water down Moore’s greatness almost beyond recognition. On several tracks the predominant instrument is the synthesizer rather than the acoustic guitar. And where the guitar is used, it is often in a paper-thin remedial picking pattern that does nothing to demonstrate the artist’s virtuosic abilities on the instrument. The album also does little to demonstrate Moore’s songwriting talents, featuring only one original Christy Moore song, “Delirium Tremens.” It is a clever and tuneful song about a man’s hallucinations while trying to give up alcohol, but the twinkly keyboard arrangement it receives here (by producers Moore and Donal Lunny with assistance from new age icon Enya, who also provides background vocals) is inappropriately soft and lilting. But two of the brightest points on Christy Moore are not political at all: “City of Chicago,” written by Christy’s brother Barry (better known as Luka Bloom), and Jimmy McCarthy’s “Lisdoonvarna,” a witty song about a summer music festival in County Clare, Ireland. Christy Moore is not a bad album, but it makes a poor introduction to his music. Moore may well be “the most powerful Irish folk singer today,” as Jackson Browne claims on the record jacket, but this album is not so much folk music as easy-listening ’80s pop.
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Blodwyn Pig – Getting To This
Label: A&M Records/SP 4243 | Release: 1970 | Genre: Progressive-Rock
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Less than a year after the release of their début, Blodwyn Pig returned with what would prove to be their final album (although further material would eventually appear in the Blodwyn Pig name as a result of a reunion many years later). Once again, the band revolves around the blues leanings of Mick Abrahams and the jazz influences of Alan Lancaster.
Abrahams dominates the early song-writing, composing all the tracks (one with Andy Pyle) on the first side of the LP release. The opening “Drive me” mixes jazz rock with blues rock to come up with a catchy up-beat introduction to the album featuring a gritty vocal. The contrast with the vocal style on the following “Variations On Nainos” is quite stark, the latter being more in line with Abrahams subsequent solo album. In an obvious effort to out -Tull Abrahams former band, “Variations On Nainos” features prominent flute alongside some good lead guitar. The singing through a glass of water verse is an indulgence too far though!
“See My Way” is the longest of the Abrahams songs at a shade over 5 minutes. There is a bit of an American feel to this steam-rolling blues rocker, which makes it among the most appealing of the set. The brief “Long Bomb Blues” takes the American feel south, with picked guitar dominating. The relentless pace of the Abrahams songs continues on “The Squirreling Must Go On”, another powerful slice of guitar rock. The lack of a vocal leaves the song feeling a bit like an unfinished backing track, but it is enjoyable nonetheless.
Alan Lancaster is restricted to writing a single track, but he comes up with an eight minute suite in four parts entitled “San Francisco Sketches” . The sections feature mainly San Francisco related sub-titles, setting off with a a semi-improvised jazz workout. Surprisingly, the “Telegraph Hill” section features a Ray Conniff singers style vocal, but apart from that the track is instrumental. Many will probably find this to be the high point of the album, but for me it is prosaic. Andy Pyle receives a rare sole writing credit for “Worry”, a song which sounds for all the world like another Abrahams composition. “Toys” is something of an oddity, being a soft reflective acoustic number. The singer-songwriter feel to the track makes for a pleasant contrast.
Drummer Ron Berg also gets a writing credit for the brief “To Rassman”, a nonsensical calypso song. The album closes with “Send Your Son to Die”, a track which featured on the Island records sampler “Bumpers”. The track sums up the band well, blending the blues rock and the jazz rock with an infectious rhythm section.
Overall, an album which is the equal of its predecessor. Blodwyn Pig were never going to be the most original band of the early 70’s, or the best. As bands who also served go, they were however one of the better ones.
Following the release of “Getting to this”, Mick Abrahams left the band. While the name was briefly retained and later resurrected, Blodwyn Pig’s bacon was effectively cooked.
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Blodwyn Pig – Ahead Rings Out
Label: A&M Records/SP 4210 | Release: 1969 | Genre: Progressive-Rock
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Blodwyn Pig will probably forever be considered an offshoot of Jethro Tull, as the band was put together by Mick Abrahams. Abrahams was a co-founder of Tull, but his desire to retain the direction that band took on their début album “This was” was at odds with that of Ian Anderson. Anderson prevailed, Abrahams left after just one album, and as far as Tull are concerned the rest is history.
Abrahams did not sit on his hands though, and quickly put together a band to take his vision forward, and indeed initially to rival Jethro Tull in terms of success. We should not though consider this Abrahams plus backing, the rest of the line up is strong including Andy Pyle ex of the Kinks and a future member of Wishbone Ash. The multi-talented Saxophonist Jack Lancaster brings to the band the opportunity for a diversity of sounds, Lancaster going on to become an accomplished session musician.
This, Blodwyn Pig’s first album, consists of 9 tracks primarily written by Abrahams and/or Lancaster, with the other band members (including drummer Ron Berg) receiving co- writing credits on a couple of tracks. The music is firmly rooted in the blues which Abrahams had grown to love, the opening “Its only love” being an upbeat blues rocker with a big band style sound. Abrahams recalls that at the time of recording, he exploited the recent availability of 8 track recording to “thicken out the sound”.
If the first track is unashamedly commercial, the second “Dear Jill” is a delightful downbeat blues with sleepy sax and atmospheric slide guitar. Abrahams vocals here are among the best he has performed. “Sing Me a Song That I Know” is relatively prosaic, and very much of its time (over 40 years ago!).
Without even checking the credits, it is apparent that “The Modern Alchemist” is the first of the Jack Lancaster compositions, the track being a jazz based instrumental with sax and guitar leads. It is hardly original, even for back then, but the frantic pace does allow the band to let their hair down. “Up and Coming” is the first of the songs to be credited to all the band members. Here they revert to the atmospheric blues of “Dear Jill”, the track being similar to Uriah Heep’s “Lucy blues” recorded around the same time.
“Leave It With Me” is the second of the Lancaster written instrumentals; once again the track is a semi-improvised workout for the band, Lancaster’s tracks being noticeably different from the main blues pull of Abrahams. “The Change Song” opens with some undecipherable cockney chatter before settling down to a folk tinged acoustic ditty. The USA version of the album differed from the UK release through the inclusion of “See my way”, a song which would appear on the band’s second album in the UK. The track certainly has a bit of an American feel, being a driving blues rock number. Abrahams is in good voice on the track, which benefits from an adventurous arrangement, including what Abrahams refers to as a “Bolero” section.
The album closes with the 6 minute “Ain’t Ya Coming’ Home, Babe?”, where Lancaster’s jazz drive meets Abrahams blues thrust head on. The result is an oddly progressive melting pot of sounds which works in the main, but can sound a bit messy.
Overall, an impressive début from a band who failed to achieve all they were capable of. One of the highlights of the album is the stereo separation of the main instruments, which makes for a wonderfully clean, uncluttered sound overall. Not necessarily an album for Jethro Tull fans, but those with a bent towards blues, perhaps through bands such as the Groundhogs, should find much to enjoy here.
The CD remaster has a fine supply of bonus tracks. As most of these are written by Mick Abrahams, they inevitably lean towards the blues side of the band, but most would have made for worthy additions to the original album. “Walk on the Water” shines particularity well, although the sudden fade implies a work in progress.
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Barclay James Harvest – Time Honoured Ghosts
Label: Polydor/2383 361 | Release: 1975 | Genre: Progressive-Rock
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BARCLAY JAMES HARVEST released a number of fantastic recordings in the 70’s with “Time Honoured Ghosts” representing one of this music lovers favorites. At this point in their musical careers these guys were in full flight and recording some of the most beautiful soft progressive rock. John Lees and Les Holroyd were the dominant song writers and literally shared the penmanship and wrote some of the world’s most gorgeous melodies many of which are featured on this album. For those who are not familiar with BJH and those who love symphonic rock will love this band. BJH blend mellotron and organ whispers with acoustic and soaring electric guitar leads all put to the backdrop of complimentary bass and percussion. Like many of the BJH albums, “Time Honoured Ghosts” captures that special musical melancholy feeling.
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Barclay James Harvest – Barclay James Harvest And Other Short Stories
Label: Sire/SI 5904 | Release: 1972 | Genre: Progressive-Rock
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The band’s growing confidence is apparent on this their third album. “Ursula”, “Medicine Man”, and “Someone there you know” all bear the hallmarks of a band at ease with itself, while developing its own hallmark sound. That sound is one of melodic prog with strong vocals and symphonic instrumentation. I hesitate to say it in view of BJH’s undeserved “Poor man’s Moody blues tag”, but the Moodies are a good reference point for those unfamiliar with the work of BJH.
The band are working as a coherent unit here, with a definite sense of purpose and direction, coupled with strong compositional skills. These skills are perhaps most apparent towards the end of the album where the orchestral majesty of the delicate “The Poet” merges into the bombastic “After the day” to form a terrific two part closing track. Only “Harry’s song” and “Blue John’s Blues” let the side down slightly, both being rather dull with weaker melodies. In all though, a highly accomplished album which displays an evolving maturity.
By the way, it is interesting to hear on the subsequent live album how the opening track “Medicine man” is transformed from a BJH standard, to a lengthy beat laden jam.
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