Plain and Fancy: 12/21/25

Sunday, December 21, 2025

Beggars Opera - Pathfinder (1972 uk, a great deal of musical territory, 2005 remaster)

Hailing from Glasgow and previously known as The System, they released their debut album ‘Act One’ in 1970 via the Vertigo label. However, what they presented on this debut was music in the style of The Nice or ELF, which meant their work lacked much of the appeal needed to capture the attention of a large fanbase. As is well known, British music in the 1970s was truly a ‘Renaissance of Rock’, with a diverse array of genres being explored by talented artists and groups. Without any real originality, simply being a copy band of another group was insufficient to appeal to fans with discerning tastes. However, thanks to the assistance of Stuart Henry, a radio DJ at the time, they had to content themselves with the modest success of the track “Sarabante”. Resolving to do better, they released their ambitious second album, ‘Water Of Chanpe’, the following year in 1971 via the Vertigo label. Moving away from the styles of The Nice or E.L.F heard on their debut, they showcased their own distinct character. It was a work where Martin Griffiths' powerful vocals, Alan Park's aggressive guitar playing, and the Mellotron sounds handled by female member Gordon Sellar stood out.

Buoyed by the success of their second album, they released their third album, ‘Pathfinder’, in 1972, a year later. This is widely regarded as Beggars Opera's masterpiece. Released on the Vertigo label with one of its rare poster covers, this third album featured a more advanced sound. Its striking cover art, depicting an astronaut in lunar attire riding a horse, strongly appealed to fans and stimulated their desire to purchase the record. Completed by Peter Goodfellow's illustration and the design collective Blmmsbury Group, this cover exudes a strong progressive aesthetic. Comprising the quintet line-up of Martin Griffiths (vocals), Alan Park (keyboards), Ricky Gardiner (guitar, vocals), Gordon Sellar (vocals), and Ray Wilson (drums), Beggars Opera's sound possesses the earthy charm unique to British rock, coupled with simple yet beautiful melodies that anyone can easily become familiar with upon a single listen.

The opening track “Hobo”, beginning with a lively rhythm, tells the story of a dying wanderer. Martin's vocals, delivered in a matter-of-fact tone, unfold while maintaining an up-tempo pace throughout. The latter part sees Alan's piano (which changes to organ towards the end) and Ray's supporting drums create a splendid ensemble. The next track is the famous “Macarthur Park” by Jim Webb. This song has been arranged by numerous artists and orchestras, including Andy Williams, Frank Sinatra, Donna Summer, Justin Hayward, the London Symphony Orchestra, the Royal Philharmonic Orchestra, and the Mantovani Orchestra, involving up to 40 performers. Bepsars Opera, true to their progressive roots, incorporate Alan's harpsichord playing to enrich the melodic sound further. Moreover, by adding Mellotron sounds in the latter part, they deliver a rendition far superior to those by previous artists. The third track, “The Witch”, showcases the dynamic yet delicate playing of Ricky's aggressive guitar and Alan's Hammond organ, characteristic of a British group.

Next comes the album's title track, “Pathfinder”. Over a simple rhythm, Ricky's guitar evokes the spirit of late 60s beat sound hits, while the members' restrained harmonies flow forth, true to the group's name. On the back cover of this album, lead vocalist Martin has written brief notes about the songs featured. The next track, “From Shark To Haggis”, unfolds in a Scottish jig-like dance style, as he describes, seemingly born of a mood heightened by drink. Listening to it, one becomes utterly absorbed in the melody, which builds to a climax, even without the aid of alcohol. 'Stretcher' is the sole instrumental piece on this work. Following a sweet piano melody, Ricky's guitar playing emerges, soothing the listener's heart. Then, “Madame Doubtfire”, with its impressively deep, resonant vocals, is shrouded in such a thick layer of eerie effects that it could easily serve as a horror film soundtrack.

Following this album, the band underwent a line-up change, recruiting Linnie Peterson, vocalist of the psychedelic group Writing On The Wall, before releasing one final album and disbanding. Showcasing the true essence of poster art, this album contains tracks as outstanding as its cover, and will be remembered as a standout release on the Vertigo label.

by Lee Chun