The body of work released by Nick Drake during his lifetime, consisting of three studio albums, is intriguing for so many reasons, not least in that each record has its own distinctive character . In view of these differences, it is a little awkward to single out "favourites" as such, but I will admit that Five Leaves Left, his 1969 debut release, is the one which I return to most frequently.
There is a stripped down tenor to much of the album, with pleasant and tasteful instrumental and melodic flourishes. It possesses a deceptive depth, whilst also retaining an earthy and uncomplicated quality . The opening number, "Time Has Told Me" has a simplicity of melody, and lyrical sentiments which are profound but universal, a hallmark of the artist's work. Richard Thompson supplies some nice embellishments on electric guitar.
Drake's voice is to me very natural and comforting, if unusual. Expressive if not exactly mournful, sturdily fragile, and well suited to this genre of music, to the nature of the material being performed. The essence of his acoustic guitar technique is very well captured throughout the record. .
"River Man" is a highly evocative and haunting piece, and the singer's voice is used to good effect to accentuate these traits, almost as a separate instrument in itself. This is one of those tracks which employs strings, and they are judiciously used, although they are a feature of the Drake palette which, I find, occasionally divides opinion in some minds.
"Three Hours" is next, and is another instance of different instruments being utilized to add subtle texture;in this case the double bass and the congas. Drake's guitar style is nicely showcased on this number, too. This song is quite lengthy, clocking in at over six minutes, but that is no bad thing. More of a genuine mood piece than what surrounds it?
"Way to Blue" adds some variety, the intense strings evoking a "baroque pop" ambience. People who approach Nick Drake's music anew are often surprised to find things like this in his repertoire, having been led to expect more traditional "singer-songwriter" fare.
"Day Is Done" is the shortest item on the listing, in terms of duration, but for me it is the most impactful and emotionally resonant song on the whole record. More delicate guitar is here, and the tune is richly melodic . A day as a metaphor for life as a whole, or an examination of life as a ongoing cycle?
I am not sure whether "Thoughts of Mary Jane" is about what we are led to expect it to be by the title. I guess that one's interpretation of lyrics can be stretched to accommodate anything. In any event, the recorder part (?) is a clever and enticing addition, and the lyrics are suitably enigmatic and poetic, and the overall effect is quite ethereal.
"Man In A Shed" is on the surface an odd song, whimsical even. I find it amusing, although on closer inspection its themes are not altogether different from the other songs featured here. The sprightly and dextrous piano playing adds much to the mixture, and the melody swings rather nicely.
"Fruit Tree" is for many listeners perhaps the quintessential Nick Drake song, both sonically, and lyrically. The poignancy of the melody and the imagery contained in the words complement each other beautifully. "Saturday Sun" is the perfect closer to the set. The vibraphone could have been incongruous, but in practice it is absolutely ideal. An inspired addition, in keeping with the apparent trend on this album for instruments to be selected on a "horses for courses" basis, according to how they could convey or augment a mood or an atmosphere.
In many places this LP is low-key in tone, almost apologetic, but that is a large part of its charm and quality. It pleads with the listener to pay attention to the lyrics. When taken on these terms, it is a cerebral, exploratory experience. The subsequent Nick Drake albums are more experimental and even more diverse, but they do not quite embody his vision with the clarity which is found on Five Leaves Left.
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