Strawbs - From The Witchwood - album review

Of the many sub-genres which featured on the British rock scene in the period beginning in the late 1960s, those of progressive folk, or progressive folk-rock, spawned some interesting, inventive and highly listenable music. Prominent among the acts which fell into these categories were Strawbs.

To many more casual observers, Strawbs are best-known for having Sandy Denny and Rick Wakeman in their line-up at different times, and for their rather quirky hit single "Part Of The Union". However, closer evaluation of their 1970s work reveals a highly talented group.

One record which stands out for me is their 1971 album From The Witchwood, which showcases strong songwriting and musicianship, and acutely tuneful, compact sensibility.  The production capabilities of Tony Visconti also help to ensure that a cohesive and lively ambience prevails throughout.

Tracks such as the opener, "A Glimpse Of Heaven", mix authentically folk-inflected sections with more exotic instrumental flourishes. Rick Wakeman's keyboards add some texture and occasional dynamism to the arrangements.

Some of the lyrics tackle "traditional" folk topics, centering on rural life and pastoral imagery, but they very rarely descend to the "maypoles and apple scrumpy" territory which characterizes some British folk and folk-rock of the period. Crucially, most of the compositions fall short of being over-earnest.

The captivating, and slightly eerie, title track is one of the highlights of the record. "Thirty Days" carries distinct echoes of the Beatles' work circa 1964/65, by dint of its melody and its vocal harmonies. "Flight" is another number whose vocal sound is rather Beatlesque in flavour.

The contribution of Rick Wakeman is perhaps most keenly felt on "Sheep", and on "The Hangman and The Papist", with their prominent organ components.  In addition to its dramatic words, the latter is another song with a strong melody. And the consistently strong running order is sustained by "Cannondale" and the beautiful and striking "The Shepherd's Song", with its eclectic and surprisingly effective mixture of influences.

From The Witchwood closes with two intriguing and affecting songs.  "In Amongst The Roses" typifies the contemplative and enigmatic leanings of the album's subject matter. "I'll Carry On Beside You" is more upbeat and strident, and features an intricate piano "engine" courtesy of Wakeman. Like many of the pieces on the LP, it is performed with conviction and vigour, and this is important.

Overall, this record is a strong and purposeful collection of songs, well-crafted, controlled and appealingly organic in their execution, the relatively sparing use of electric guitars strengthening this impression. Combining the lyrical and poetical hallmarks of folk music with the odd infusion of rock energy, and the occasional "experimental" passage, it is a most satisfying listen, which still sounds fresh and credible today.

Five Leaves Left - Nick Drake (1969) - album review

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.

No Other - Gene Clark - album review

I have always been somewhat wary when approaching albums with a "cult" or mythical reputation, as the substance seldom matches the lavish praise heaped upon them.   The longer one is exposed to the fulsome reviews and general hyperbole, the greater the eventual sense of disappointment and anti-climax will be.

In the case of Gene Clark's 1974 release No Other, I acquired it not long after becoming aware of it, and so no process of "softening up" was involved.  I found that it did largely justify its reputation, and is a noteworthy piece of work for a number of reasons.

The album stands out from the rest of Clark's oeuvre, even considering his quixotic career.  The stems from the juxtaposition of Gene's patented songwriting and performing prowess with some quintessentially "Seventies" production values and soundscapes. Although the production might appear lavish and glossy, it also manages to retain some organic and gritty qualities. Thankfully, the quality and power of the compositions is hardly obscured at all.

Whilst it is very true that No Other is "of its time", it does have a real grandeur and majesty about it, and a certain mythology surrounds it, partly fuelled by the lurid tales emerging from the recording sessions. The LP became emblematic of the bloated hedonism of its era, although it seems that many of the stories surrounding its making were exaggerated or fabricated. The same properties which make No Other unique and captivating are the same ones which have also made it misunderstood, divisive and slightly polarising. Derided by many around the time of its release, it has since been largely rehabilitated.

The instrumentation is unusual when compared to Clark's other work, with more opulent and layered backing tracks on the majority of the tracks.  This prompts the charge that many of the songs are "samey", and almost indistinguishable from each other. It is almost a concept album in that respect.

Having said that the songs border on the homogeneous, the closer "Lady Of The North" is arguably the tour-de-force of the set. From a delicate, largely acoustic, opening, this builds into something of an epic - ethereal, compelling, evocative and hypnotic.

The opener, "Life's Greatest Fool", sets the tone, with some atypical (for Clark) harmonies and even lyrics.  We have already touched on the uniformity of the backing tracks, but some nuance is injected by the variety of musicians employed; a veritable who's who of Los Angeles sessionmen of the time.

"Silver Raven" exemplifies the atmospheric, vaguely unsettling flavour of much of the album, with oblique lyrical content. Here, as on some of the other numbers, Gene's voice sounds less expressive than normal, but also more varied; not a contradiction.

The title track exudes many of the trends of the early to mid 1970s, with its use of electric piano and synthesizers, and the treatment applied to the singer's voice. These things were very much in vogue, and the sound also contains echoes of the likes of Steely Dan and Little Feat, two critically acclaimed acts of the time.

"Strength of Strings" has a very steamy acoustic guitar intro, again very much a 70s trait. The arrangement here is dense and excessive but dramatic, driven largely by piano. This song also contains possibly Clark's most effective vocal on the album, more emphatic and distinctive than the others. The lyric is vaguely mystical, and there is some pleasing guitar work throughout.

The next item "From A Silver Phial", is more country-tinged than the other material, and features a more archetypal Clark melody and lyric, whilst still incorporating some of the hallmarks of this particular album.

Also, helping to steer the album towards more familiar Gene Clark-esque territory is "Some Misunderstanding". This time the vocal is allowed sufficient room to breathe, and the flourishes are less obstrusive than elsewhere. All this makes the song one of the more understated, but also one of the more impressive songs on No Other, artist and producer achieving a kind of happy compromise, even if inadvertently. The guitar and piano parts complement the song rather than verging on the cloying.

"The True One" is less country-rock than authentic country, with its use of pedal steel.  In this esoteric setting, the song sounds quite banal, but it does also serve as light relief, being undemanding in comparison to the statements surrounding it. Well crafted and innocuous.

No Other is an album which defies easy description.  An uneasy listen at times, but it was probably not intended to be cosy and comfortable. It was hightly ambitious, and the flights of fancy do not always come off or succeed, but this is one its virtues. Approach with an open mind, and you will be rewarded and even enchanted....