You don't have to be terribly familiar with the works of Warren Zevon to surmise that he was the kind of guy to whom the idea of a series of posthumous closet-cleaning releases would have seemed pointless and idiotic, an eye-roll-worthy annoyance, a stupid trick at the bar. Even a casual fan could theorize that the man who wrote acerbic, near-freeze-dried death-related songs like "Roland the Headless Thompson Gunner" and "I'll Sleep When I'm Dead" would have met the idea of such a suggestion with a smack to the face, or, if you were lucky, a mumbled joke to his tablemates at your expense.
Happily for Zevon, who succumbed in 2003 to a form of lung cancer, this is no such project. Preludes isn't the product of label guys sniffing around Zevon's vaults to fulfill some second-quarter sales projections, or, apologies to Johnny Cash and Ray Charles, to spot-capitalize on the novelty of his fresh corpse (waiting four years after Zevon's death to release such a record lends the project extra weight and lessens the uncomfortable post-mortem cash-in vibe considerably, although it is being released around the same time as a biography by Zevon's wife, Crystal).
Rather, Preludes was assembled by Zevon's son Jordan, who discovered the tracks herein in one of Zevon's old storage spaces -- more romantically (the story goes anyway), he found them in a suitcase full of old reel-to-reel tapes, a treasure haul that yielded six CDs and 126 songs, all of which hailed from before 1976. Tellingly, there were no accompanying notes.
Just 16 of those demos made it to Preludes, and of those, only six are unreleased compositions, and all are pretty damned good, rosy nostalgia or not. (Although the nostalgia counts for more than you might think: "Ain't life strange, ain't it funny," sings the ghost of Zevon in the record's first notes, and even if the song ends up being a piano weeper starring whiskey and cigarettes and sidewalks and abject loneliness, of course, it's impossible to not be chilled by the introduction.)
Zevon fans should be highly pleased with the volume of curious here: There's a loose, drinky-sounding, is-this-thing-on? take on "Werewolves of London", that sports a reggae twist and a line from "Hamlet" for some reason; a dirty-blues riff "Join Me in L.A." that's just Zevon, guitar, harp and attitude; a soft, rough "Hasten Down The Wind" whose unpolished sound lends its story extra heartbrokenness; a "Tule's Blues" that finds Zevon going all juke-joint on the keys; a 3 a.m. house-party take on "Poor Poor Pitiful Me" and a piano-only "Studebaker" whose piano jumps off even the lo-fi recording.
Preludes is heavy on material from that last category; it uses the considerable emotional weight of its backstory to successfully throw light on the lesser-known of Zevon's persona; not the arch pirate behind "Lawyers Guns and Money" but the piano balladeer who evidently spent more time than we might have suspected absorbing Tom Waits and Billy Joel (a second bonus disc comprises a 2000 interview and a smattering of live performances, including a heartbreaking-in-retrospect version of "Don't Let Us Get Sick" and a funny tale about an encounter with Joel that compelled him to -- wait for it -- temporarily abandon the piano.)
Preludes does precisely what it sets out to do -- paint a fuller portrait of a talent who remains underrated despite it all. Once again we can assume that Zevon's not the kind of guy who would want people thumbing through his notebooks. But he also can't be the kind of guy who kept only one of these crates lying around.
by Jeff Vrabel, 24 May, 2007
Tracks Disc One
1. Empty Hearted Town - 3:04
2. Steady Rain - 4:18
3. Join Me In L.A. - 2:27
4. Hasten Down The Wind - 2:30
5. Werewolves Of London (LeRoy Marinell, Waddy Wachtel, Warren Zevon) - 3:36
6. Tule's Blues - 3:02
7. The French Inhaler - 3:31
8. Going All The Way - 2:15
9. Poor Poor Pitiful Me - 3:09
10.Studebaker - 2:34
11.Accidentally Like A Martyr - 3:05
12.Carmelita - 3:56
13.I Used To Ride So High - 2:43
14.Stop Rainin' Lord - 2:11
15.The Rosarita Beach Café - 4:08
16.Desperados Under The Eaves - 3:44
All songs by Warren Zevon except where noted
Disc Two
1. I Was In The House When The House Burned Down - 3:02
2. Warren Speaks On Songwriting And The Early Days Of His Career - 7:14
3. Musings On Mortality, Song Noir And The King Of Rock N' Roll - 5:07
4. A Chat About Producers And The Stark Sounds On The Album Life'll Kill Ya - 5:09
5. Back In The High Life Again (Will Jennings, Steve Winwood) - 3:11
6. Warren's Take On Winwood's Classic And Warren's Inspirations - 3:58
7. Talk Of Tv, Movies, Acting And Performing - 5:14
8. Don't Let Us Get Sick (Solo Acoustic) - 3:10
Track 8 Recorded live December 3, 1999 at Austin City Limits Studios for 107.1 KGSR Radio Austin 9th Anniversary Concert
Home was a relatively obscure British group most closely associated with the progressive rock movement of the early 1970s, but their lasting legacy has had less to do with their music than as serving as a proving ground for several musicians who would go on to find much greater success with future bands.
Founded in London in 1970 by singer/guitarist Mick Stubbs, guitarist Laurie Wisefield, bassist Cliff Williams, and drummer Mick Cook, who eventually attracted some label interest and wound up signed to CBS Records, releasing three albums over the next three years. 1971's Pause for a Hoarse Horse came first with keyboard player Clive John fleshing out the group's relatively understated progressive rock aspirations, which were tempered with elements of the period's easygoing California rock sound and driven primarily by Wisefield's distinctive guitar work.
Tracks
1. How Would It Feel (Mick Stubbs) - 6:27
2. Red E. Lewis And Red Caps (Mick Stubbs) - 7:40
3. Dreamer (Mick Stubbs, Mick Cook, Laurie Wisefield, Cliff Williams) - 5:13
4. My Lady Of The Birds (Mick Stubbs, Mick Cook, Laurie Wisefield, Cliff Williams) - 8:30
5. In My Time (Mick Stubbs, Mick Cook, Laurie Wisefield, Cliff Williams) - 8:33
6. Schooldays - 3:03
7. The Old Man Dying - 3:26
8. Time Passes By - 1:37
9. The Old Man Calling - 3:06
10.The Disaster - 2:41
11.The Sun's Revenge - 6:01
12.A Secret To Keep - 1:15
13.The Brass Band Played - 0:26
14.Rejoicing - 2:40
15.The Disaster Returns - 8:07
16.Death Of The Alchemist - 4:36
17.The Alchemist - 3:41
Tracks 6-17 written by Mick Stubbs, Mick Cook, Laurie Wisefield, Cliff Williams, David Skillin
The Home
*Mick Stubbs - Vocals, Guitar, Piano
*Laurie Wisefield - Acoustic Guitar, Steel Guitar, Vocals
*Cliff Williams - Bass, Vocals
*Mick Cook - Drums, Percussion
*Jim Anderson - Piano, Organ, Mellotron, Synthesizer, Vocals, (Tracks 6-17)
Begun as an acoustic spinoff of the Jefferson Airplane, Hot Tuna eventually became the full-time focus of founding members Jack Casady and Jorma Kaukonen, emerging as a popular touring act of the 1970s. The two were lifelong friends, growing up together in Washington, D.C., and playing in the group the Triumphs. After high school, guitarist Kaukonen and his government-service parents relocated to the Philippines, but he returned to the U.S. in time for the advent of psychedelia, landing in San Francisco and co-founding the Airplane in 1965. Bassist Casady joined not long after, and together they helped lead the group to massive success during the late '60s.
Hot Tuna -- originally dubbed Hot Shit, much to the chagrin of their label, RCA -- first began taking shape in 1969, while both Casady and Kaukonen were still active members of the Jefferson Airplane; in fact, their first performances were sandwiched between regular Airplane gigs. As a trio rounded out by harmonica player Will Scarlet (and occasionally including Airplane members Marty Balin and Spencer Dryden).
Unlike recent Hot Tuna albums, Hoppkorv found the group acting less as a mouthpiece for guitarist Jorma Kaukonen's compositions and more as a heavy rock cover band, handling such familiar material as Buddy Holly's "It's So Easy" and Chuck Berry's "Talkin' 'Bout You," although "Watch the North Wind Rise" was one of Kaukonen's better tunes. Even on the originals, the tempo had picked up, the arrangements were shorter; nothing here ran as long as five minutes, and the sound had been filled out by the occasional addition of keyboards, second guitar, and background vocals.
by Jason Ankeny and William Ruhlmann
Tracks
1. Santa Claus Retreat (Jorma Kaukonen) - 4:10
2. Watch the North Wind Rise (Jorma Kaukonen) - 4:38
3. It's So Easy (Buddy Holly, Norman Petty) - 2:33
4. Bowlegged Woman, Knock-Kneed Man (Bobby Rush, Calvin Carter) - 3:05
5. Drivin' Around (Nick Buck) - 2:53
6. I Wish You Would (Billy Boy Arnold) - 3:16
7. I Can't Be Satisfied (McKinley Morganfield) - 3:50
8. Talkin' 'Bout You (Chuck Berry) - 3:23
9. Extrication Love Song (Jorma Kaukonen) - 4:13
10.Song from the Stainless Cymbal (Jorma Kaukonen) - 4:00
An early supergroup borne out of the prolific Munich scene fronted by American-German Klaus Ebert featuring studio musician Keith Forsey on drums (Hallelujah/Amon Düül II), bass genius Lothar Meid (Amon Düül II), Jörg Evers (guitar) from Embryo.
The idea behind 18 Karat Gold seems to have been to present Krautrock in a commercial dilute form to the pop public.
Much of the time 18 Karat Gold made their living by working as pop singer Peter Maffay's backing band. Their sole album contained a few minor surprises.
Tracks
1. Going Home - 4:47
2. Come On Monday - 2:05
3. Flying - 5:18
4. Goldrush - 2:57
5. Star-Eyed - 4:31
6. Dr.Stein (5%) - 3:47
7. Elektric Infected - 5:10
8. I Am Just A Man - 3:02
9. See Me In Your Dreams - 4:00
10.If My Guru Would Know (Lothar Meid, Klaus Ebert, Jörg Evers) - 3:36
11.Cool - 2:49
All songs by Keith Forsey, Lothar Meid, Klaus Ebert, Jörg Evers except Track #10
Recorded in 1969, Wanted Dead or Alive is a very different Warren Zevon than the one who emerged in the late ‘70s as one of Los Angeles’ premier singer-songwriters. The voice is still deep and foreboding.
“She Quit Me” is an acoustic demo that’s part blues, part harmonica-folksinger. “Hitchhikin’ Woman” is tough hard rock. “Calcutta” is tougher barroom rock ‘n’ roll. The title track and the country-tinged “A Bullet for Ramona” come closest to the film-noir horrors of Zevon’s most notable works.
The electric guitars are supersized in comparison with Zevon’s later work. “Tule’s Blues” is excellent and would be reworked at a later date but not officially released until the expanded and deluxe editions of his catalog began appearing. Zevon himself expressed little interest in this set, but it has its fans.
In 1981, Warren Zevon told a reporter from Rolling Stone about the strange genesis of his first album: "In 1969, [producer] Kim Fowley called me up one day and asked very simply, 'Are you prepared to wear black leather and chains, f---- a lot of teenage girls and get rich?' I said yes." Zevon had been bouncing around the margins of the L.A. rock scene for several years as a songwriter and would-be pop star when Fowley (at that point best known as the man who wrote, sang, and produced "Alley Oop" by the Hollywood Argyles) offered him a record deal.
Tracks
1. Wanted Dead Or Alive (Kim Fowley, Martin Cerf) - 2:36
2. Hitch Hikin' Woman - 2:16
3. She Quit Me - 4:48
4. Calcutta - 2:19
5. Iko-Iko (Jessie Thomas, Joe Jones, Marilyn Jones, Sharon Jones, Joan Marie Johnson, Barbara Ann Hawkins, Rosa Lee Hawkins) - 1:54
6. Traveling In The Lightning - 3:05
7. Tule's Blues - 3:32
8. A Bullet For Ramona (Warren Zevon, Paul Evans) - 3:50
9. Gorilla - 3:23
10.Fiery Emblems (Bonus Track) - 3:15
All songs by Warren Zevon except where noted
Best known for her seductive '70s pop staple "Midnight at the Oasis," Maria Muldaur has since become an acclaimed interpreter of just about every stripe of American roots music: blues, early jazz, gospel, folk, country, R&B, and so on. While these influences were certainly present on her more pop-oriented '70s recordings (as befitting her Greenwich Village folkie past), Muldaur came into her own as a true roots music stylist during the '90s, when she developed a particular fascination with the myriad sounds of Louisiana. On the string of well-received albums that followed, Muldaur tied her eclecticism together with the romantic sensuality that had underpinned much of her best work ever since the beginning of her career.
Muldaur was born Maria D'Amato on September 12, 1943, in New York. As a child, she loved country & western music and began singing it with her aunt at age five; during her teenage years, she moved on to R&B, early rock & roll, and girl group pop, and in high school formed a group in the latter style called the Cashmeres. Growing up in the Greenwich Village area, however, she naturally became fascinated with its booming early-'60s folk revival and soon began participating in jam sessions. She also moved to North Carolina for a while to study Appalachian-style fiddle with Doc Watson. Back in New York, she was invited to join the Even Dozen Jug Band, a revivalist group that included John Sebastian, David Grisman, and Stefan Grossman; they had secured a recording deal with blueswoman Victoria Spivey's label and she wanted them to add some sex appeal. The young D'Amato got a crash course in early blues, particularly the Memphis scene that spawned many of the original jug bands, and counted Memphis Minnie as one of her chief influences.
Elektra Records bought out the Even Dozen Jug Band's contract and released their self-titled debut album in 1964; however, true to their name, the band's unwieldy size made them an expensive booking on the club and coffeehouse circuit and they soon disbanded. Many of the members went off to college and, in 1964, D'Amato moved to Cambridge, Massachusetts, home to another vibrant folk scene. She quickly joined the Jim Kweskin Jug Band and began an affair with singer Geoff Muldaur; the couple eventually married and had a daughter, Jenni, who would later become a singer in her own right. When the Kweskin band broke up in 1968, the couple stayed with their label (Reprise) and began recording together as Geoff & Maria Muldaur. They moved to Woodstock, New York to take advantage of the burgeoning music scene there and issued two albums -- 1970's Pottery Pie and 1971's Sweet Potatoes -- before Geoff departed in 1972 to form Better Days with Paul Butterfield, a move that signaled not only the end of the couple's musical partnership, but their marriage as well.
With Maria initially unsure about her musical future, her friends encouraged her to pursue a solo career, as did Reprise president Mo Ostin. Muldaur went to Los Angeles and recorded her debut album Maria Muldaur in 1973, scoring a massive Top Ten pop hit with "Midnight at the Oasis." Showcasing Muldaur's playfully sultry crooning, the Middle Eastern-themed song became a pop radio staple for years to come and also made session guitarist Amos Garrett a frequent Muldaur collaborator in the future. Three more Reprise albums followed over the course of the '70s, generally with the cream of the L.A. session crop, "Waitress In The Donut Shop" includes her second (and final) hit single "I'm a Woman" and presents a pleasant folk-blues mixture of material including everything from contemporary songs by Wendy Waldman and Anna McGarrigle to Skip James blues tunes and Fats Waller's "Squeeze Me," all given Muldaur's earthy, enthusiastic treatment.
Doris Troy is a rollicking party album, and this particular party included Harrison, labelmate Billy Preston, Eric Clapton, Stephen Stills, Peter Frampton and Klaus Voormann! All of those estimable talents, however, took a back seat to the lady with the smoky voice which could be gritty one minute, velvety the next.
It was clear that Troy had evolved musically since the days of “Just One Look.” Harrison’s powerful electric guitar licks on “Give Me Back My Dynamite” couldn’t be further removed from that soul classic. Yet Troy didn’t turn her back on those halcyon days of just a few years earlier; she revisited “Hurry,” which she first recorded at Atlantic, for Doris Troy. If “Dynamite” is rocking soul, Stephen Stills’ “Special Care” was reworked from Buffalo Springfield’s folk-psych into pure R'n'B heaven.
On Doris Troy, the singer treats all songs with equal respect, regardless of origin; the Dorothy Fields/Jimmy McHugh standard “Exactly Like You” is taken to the same gospel church as her cover of Joe South’s “Games People Play.” (Spiritual “Jacob’s Ladder” even closes the album on a rousing high note.) On “Gonna Get My Baby Back,” Troy jams with two Beatles (Harrison and Starkey) and Stills for a track that would make a great sing-along, if only one could possibly keep up with Doris’ insistent vocals!
The original CD release boasted five bonus tracks; all five have been retained, and are supplemented with one additional cut, an alternate version of “All That I’ve Got.” Troy sings “You Give Me Joy Joy” (another Troy/Harrison/Starkey/Stills co-write!) on the album, but joy – singly or doubly – is assuredly what this album will bring to any classic soul fan.
by Joe Marchese
Tracks
1. Ain't That Cute (George Harrison, Doris Troy) - 3:50
2. Special Care (Stephen Stills) - 3:00
3. Give Me Back My Dynamite (George Harrison, Doris Troy) - 4:56
4. You Tore Me Up Inside (Doris Troy, Ray Schinnery) - 2:33
5. Games People Play (Joe South) - 3:06
6. Gonna Get My Baby Back (George Harrison, Richard Starkey, Doris Troy, Stills) - 2:20
7. I've Got To Be Strong (Jackie Lomax, Doris Troy) - 2:36
8. Hurry (Doris Troy, Greg Carroll) - 3:13
9. So Far (Klaus Voormann, Doris Troy) - 4:28
10.Exactly Like You (Jimmy Mchugh, Dorothy Fields) - 3:10
11.You Give Me Joy Joy (George Harrison, Starkey, Doris Troy, Stephen Stills) - 3:42
12.Don't Call Me No More (Doris Troy, Ray Schinnery) - 2:07
13.Jacob's Ladder (Traditional Arranged George Harrison, Doris Troy) - 3:21
14.All That I've Got (I'm Gonna Give It To You) (Billy Preston, Doris Troy) - 4:19
15.Get Back (John Lennon, Paul McCartney) - 3:08
16.Dearest Darling (Doris Troy) - 3:04
17.What You Will Blues (Doris Troy) - 5:07
18.Vaya Con Dios (Larry Russell, Inez James, Buddy Pepper) - 3:33
19.All That I've Got (I'm Gonna Give It To You) (Alternative Version) (Billy Preston, Doris Troy) - 3:24
Bonus Tracks 14-19
Musicians
*Doris Troy - Vocals, Piano
*George Harrison - Electric Guitar
*Klaus Voormann - Bass
*Ringo Starr - Drums
*Billy Preston - Piano, Organ, Electric Piano
*Stephen Stills - Electric Guitar, Piano, Vocals
*Peter Frampton - Electric Guitar
*Alan White - Drums
*Eric Clapton - Electric Guitar
*Delaney Bramlett - Percussion
*Bonnie Bramlett - Percussion
*Leon Russell - Keyboards
*Bobby Whitlock - Vocals
*Jim Gordon - Drums
*Rita Coolidge - Vocals
*John Barham - String, Brass Arrangements
Like many others I became acquainted with the music of keyboardist and vocalist Dave Lawson with the release of the debut Greenslade album in 1973. A dual keyboard led quartet, the band also included Dave Greenslade, Tony Reeves and Andrew McCulloch. Whilst I was aware of his colleague’s pedigree having come by way of bands like Colosseum and King Crimson, I was unfamiliar with Lawson’s background. Thanks to Esoteric and the re-release of this 1970 album from Web and the 1971 Samurai set (see review below) which followed, my education is now complete in that department. As with all of Esoteric’s retrospective releases this album has been lovingly remastered, on this occasion by Lawson himself.
When Lawson joined Web, a then soul influenced band, they already had several recordings under their belt but this proved to be their last. Up to that point he had been a member of Episode Six, a band best known for once having Ian Gillan and Roger Glover amongst its ranks before they found fame and fortune with Deep Purple. Taking over sole song writing duties he transformed Web into a jazz-rock outfit with progressive rock and blues leanings. What attracted Lawson to the band in the first place was the dual drumming of Kenny Beveridge and Lennie Wright. Completing the line-up for the recording was Tom Harris (saxophones and flutes), Tony Edwards (electric and acoustic guitars) and John Eaton (bass guitar).
They nail their new colours to the mast by opening the album with Concerto For Bedsprings, a ten minute opus in five contrasting parts. I Can’t Sleep is a suitably strident and atmospheric introduction with heavy sax and organ underpinning the imposing vocal which is unmistakably Lawson. A spooky repeated organ motif rather like the vintage Twilight Zone TV theme leads into Sack Song a melodic jazzy instrumental with buoyant piano and sax. In keeping with its title Peaceful Sleep finds the band in gentle mode with a plaintive vocal resting on a light piano, flute and sax backing. In contrast the up-tempo You Can Keep The Good Life has an aggressive edge aided by a pounding piano riff. During the stark chorus Lawson’s voice it at its most strained and in my opinion least appealing. A strong sax solo continues the mood although it’s a tad overlong and begins to drag long before it ends. Loner returns briefly to the earlier mood to provide a peaceful close.
The title track I Spider is another lengthy piece although with less contrast in mood than its predecessor. Slow and moody for the most part it has a thoughtful vocal with a delicate organ backing and a spiralling sax motif. The edgy guitar punctuations sound very Peter Banks ala Yes’ version of Everydays from Time And A Word released the same year. A soaring sax break proves to be the most uplifting part. Love You opens with the rare use (for Lawson) of Mellotron with acoustic guitar and a reflective vocal which is Lawson sounding at his best. The mood and tempo abruptly changes as menacing sounding sax and guitar erupt. Mellotron and tympani are used to good effect here to sustain an air of tension and the whole thing reminded me of Van Der Graaf Generator. A heavy and bluesy guitar solo rounds off what is thus far for me the albums best song.
The curiously titled Ymphasomniac is an urgent sax led instrumental with a thumping piano backing. The eerie underscoring of Mellotron and the busy drum work is strongly reminiscent of early King Crimson. A lengthy percussion only section gives both drummers a chance to hit everything in sight before building into a bombastic piano, organ and sax coda driven by monumental drumming. Although the coda feels somewhat over extended it’s a cracking instrumental nonetheless. Always I Wait is an OK closer but is about three minutes longer than it needs to be. The trebly staccato guitar punctuations have a Hendrix influence whilst Lawson sings impossibly high joined by restless sax and organ. A fuzzed organ solo brought back memories of Tony Kaye’s work in Yes mark 1 whilst the vocals here sound very like Andy Tillison at times.
With the original album clocking in at less than forty minutes, which was about average for the time, two bonus tracks have been included. Both were recorded live in 1971 in Sweden, a country where the band seemed to find particular favour. As live recordings go they are both excellent in terms of clarity and musicianship. Here the instruments seem more pronounced in Concerto For Bedsprings. This is especially true of bass and organ which when combined with sax recalls the Mike Ratledge and Elton Dean partnership from Soft Machine. Love You skips the mellow intro of the studio version and compensates with an extended and excellent guitar solo. It’s supported by animated organ playing and together they build to a potent climax. Superb stuff making both tracks an essential addition.
Following the albums release and a string of live dates supporting the likes of Yes, Hawkwind and Manfred Mann, Web decided to call it a day. This was prompted by a lack of finance and also frustration over their name constantly being misspelt on billings. They didn’t so much disband however as evolve into the band Samurai. With I Spider they have left behind a worthy legacy and it’s not hard to see why Esoteric decided to give it a new lease of life. If you’re familiar with Greenslade then you will appreciate that Lawson’s vocals are an acquired taste, sitting somewhere between Andy Tillison and Patrik Lundstrom. Stylistically the music occupies the same area as Soft Machine, Colosseum, King Crimson and Van Der Graaf Generator from the same era with overtones of the Canterbury style. Well worth a dabble especially for those that recall early 70’s UK prog-jazz with affection.
by Geoffrey Feakes
Tracks
1. Concerto For Bedsprings Including I Can't Sleep / Sack Song / Peaceful Sleep / You Can Keep The Good Life / Loner - 10:19
2. I Spider - 8:38
3. Love You - 5:32
4. Ymphasomniac - 6:52
5. Always I Wait - 8:22
6. Concerto For Bedsprings Including I Can't Sleep / Sack Song / Peaceful Sleep / You Can Keep The Good Life / Loner - 10:40
7. Love You - 4:22
All compositions by Dave Lawson
This reissue is the second of three albums The Web recorded before evolving into Samurai for one eponymous album. The Web’s last album I Spider and the Samurai album (reviewed here) both feature a pre-Greenslade Dave Lawson on keyboards and are well worth investigating for Greenslade, VDGG and early English progressive rock fans.
Admirably wanting to move away from their soul band roots, they start off OK with the strident Like The Man Said and keep up the momentum with a fair cover of Sunshine Of Your Love, shoehorning some jazzy variations into the middle of the song. Unfortunately, the wheels come off the wagon here and you will have to make it past a version of Gilbert O’Sullivan’s overwrought and melodramatic 'Til I Come Home Again; a couple of novelty pieces – the percussive Bewala and the execrable Kilimanjaro, not to mention the hideous crooning of One Thousand Miles Away, before you reach the climactic pairing of Tobacco Road / America which, thankfully is not bad at all, if hardly an original choice of song to cover.
The two bonus tracks are a bit more like it, in an Afro/Jazz rock vein and quite enjoyable too.When the band are on form, as on the first two tracks and the last three, they manage to present a competent if unspectacular jazz rock blend, strong on saxes and flutes and with powerful vocals, and with the merest hint of the progressive direction they went on to pursue.
by Dave Sissons
Tracks
1. Like The Man Said (Lennie Wright) - 7:06
2. Sunshine Of Your Love (Pete Brown, Eric Clapton, Jack Bruce) - 6:47
3. 'til I Come Home Again Once More (Gilbert O'Sullivan) - 3:01
4. Bewala (John L. Watson, John Eaton, Tony Edwards, Tom Harris, Dick Lee-Smith, Kenny Beveridge, Lennie Wright) - 2:31
5. One Thousand Miles Away (John Eaton) - 4:29
6. Blues For Two T's (Tom Harris) - 2:50
7. Kilimanjaro (John Eaton, Lennie Wright) - 3:49
8. Tobacco Road / America (John D. Loudermilk, Leonard Bernstein, Stephen Sondheim) - 5:39
9. Afrodisiac (John L. Watson, John Eaton, Tony Edwards, Tom Harris, Dick Lee-Smith, Kenny Beveridge, Lennie Wright) - 3:20
10.Newspecs (Tom Harris) - 3:47
Bonus Tracks 9-10
The Web
*John L. Watson - Vocals
*John Eaton - Electric, Acoustic Guitars, Tambourine, Cabasa, African Drum
*Tony Edwards - Electric, 12-String Guitars, Military Bass Drum
*Tom Harris - Flutes, Tenor, Baritone Saxes, Bass Clarinet, Marimba
*Dick Lee-Smith - Bass, Chinese Tom Tom, Drums
*Kenny Beveridge - Drums, Percussion, African Drum
*Lennie Wright - Vibes, Congas, Claves, Marimba, Varitone, Drums, Xylophone
A selection of the Yardbirds BBC key live recordings, assembled with the assistance of the Yardbirds and the BBC, with several tracks now all together the first time on this newly restored and remastered 2LP set.
Many tracks have been expertly repaired from rare,hard-to-find and archive sources and now feature for the first time on these best available recordings in LP format.
Sourced from the BBC, this double LP covers numerous songs - including smash hits such as For Your Love , Heart Full Of Soul and Yardbirds classic stage favourites Too Much Monkey Business , Smokestack Lightning ,I'm A Man and Train Kept A-Rollin.
Guitar legends Jeff Beck and Jimmy Page feature alongside front man Keith Relf, Paul Samwell-Smith and Jim McCarty in these sessions, recorded by the world renowned broadcasting organisation for radio transmission and our LPs feature a selection of the best available Yardbirds BBC Radio One output from 1965-1968.
Authoritative sleeve notes contain new quotes from Yardbirds Jim McCarty and Paul Samwell-Smith. McCarty also adds his exclusive personal introduction for this set, looking back at those BBC years.All tracks recorded in Mono.
Tracks Disc 1
1. I Ain't Got You (Calvin Carter) - 1:58
2. Interview, Keith Relf - 0:56
3. For Your Love (Graham Gouldman) - 2:22
4. I'm Not Talking (Mose Allison) - 2:32
5. I Wish You Would (Billy Boy Arnold) - 2:39
6. Interview, Paul Samwell-Smith - 0:59
7. Heart Full Of Soul (Graham Gouldman) - 2:27
8. I Ain't Done Wrong (Keith Relf) - 2:32
9. Heart Full Of Soul (Alternate version) (Graham Gouldman) - 2:24
10.Too Much Monkey Business (Chuck Berry) - 2:34
11.Love Me Like I Love You (Chris Dreja, Jeff Beck, Jim McCarty, Keith Relf, Paul Samwell Smith) - 2:54
12.I'm A Man (Ellas McDaniel) - 2:31
13.Evil Hearted You (Graham Gouldman) - 2:32
14.Interview, Paul Samwell-Smith - 0:52
15.Still I'm Sad (Jim McCarty, Paul Samwell Smith) - 3:01
16.Hang On Sloopy (Bert Russell, Wes Farrell) - 3:46
17.Smokestack Lightning (Chester Burnett) - 5:03
18.Interview, The Yardbirds - 0:47
19.You're A Better Man Than I (Brian Hugg, Mike Hugg) - 3:15
20.The Train Kept A-Rollin' (Howie Kay, Syd Nathan, Tiny Bradshaw) - 2:43
21.Smokestack Lightning (Edited version) (Chester Burnett) - 3:34
Disc 2
1. Shapes Of Things (Chris Dreja, Jim McCarty, Keith Relf, Paul Samwell Smith) - 2:29
2. Dust My Broom (Elmore James) - 2:34
3. You're A Better Man Than I (Brian Hugg, Mike Hugg) - 3:05
4. Baby, Scratch My Back (James Moore) - 3:18
5. Interview, Keith Relf - 0:48
6. Over, Under, Sideways, Down (Chris Dreja, Jeff Beck, Jim McCarty, Keith Relf, Paul Samwell Smith) - 2:15
7. The Sun Is Shining (Edited version) (Elmore James) - 2:46
8. Interview, Keith Relf - 1:21
9. Shapes Of Things (Alternate version) (Chris Dreja, Jim McCarty, Keith Relf, Paul Samwell Smith) - 2:21
10.The Sun Is Shining (Elmore James) - 3:34
11.Over, Under, Sideways, Down (Original TV version) (Chris Dreja, Jeff Beck, Jim McCarty, Keith Relf, Paul Samwell Smith) - 2:10
12.Comment, Jeff Beck's Guitar Playing - 0:16
13.Most Likely You Go Your Way (And I'll Go Mine) (Bob Dylan) - 2:55
14.Little Games (Harold Spiro, Phil Wainman) - 2:27
15.Drinking Muddy Water (Chris Dreja, Jimmy Page, Jim McCarty, Keith Relf, Paul Samwell Smith) - 2:44
16.Think About It (Chris Dreja, Jimmy Page, Jim McCarty, Keith Relf, Paul Samwell Smith) - 3:13
17.Interview, Jimmy Page - 1:47
18.Goodnight Sweet Josephine (Tony Hazzard) - 2:36
19.My Baby (Jerry Ragovoy, Mort Shuman) - 2:51
The Yardbirds
*Jim McCarty - Drums
*Keith Relf - Lead Vocals, Harmonica, Guitar
*Chris Dreja - Rhythm Guitar, Bass
*Paul Samwell Smith - Bass
*Jeff Beck - Lead Guitar
*Jimmy Page - Lead Guitar, Bass
In early 1972 Blackfeather with Johns, Ward and Wylde were joined by Billy Taylor (ex-Flake) on lead guitar. With Gil Matthews (of Billy Thorpe and the Aztecs) guesting on drums they recorded a cover version of Carl Perkins' 1956 single, "Boppin' the Blues" (July 1972). It became a number-one hit in Australia in October for four weeks.
In September of that year a four-piece line-up of Johns, Ward, Wylde and Greg Sheehan on drums were recorded live at Melbourne Town Hall and the Q Club for the second Blackfeather album, Boppin' the Blues. It was produced by Howard Gable and released in December 1972. McFarlane noticed they "relied on dominant boogie-woogie piano as a substitute for guitar."
Wylde quit at the end of 1972; he was replaced by two guitarists, Lindsay Wells (ex-Healing Force) and Tim Piper, which returned Blackfeather to the harder, guitar-based style of the Robinson-era group. They performed at the second Sunbury Pop Festival in January 1973. The set was released in the following year as another live album, Live! (Sunbury). A track, "I'm Gonna Love You", appeared on Mushroom Records' inaugural release, the triple-album, Sunbury 1973 – The Great Australian Rock Festival (April 1973).
The third Blackfeather single, "Slippin; & Sliddin'", a cover of Little Richard's track, was issued in February 1973; by which time Sheehan had quit and the group split in April. Johns briefly performed solo before joining former band mates, Penson and Ward, in Flake; which disbanded late in 1974.
This release is coupled with the "Boppin the Blues" album from 1972 which was the bands follow up to "Mountains of Madness" and gave the band their biggest hit in Australia with the title track.
Tracks
1. Get It On (Neale Johns) - 6:43
2. I'm Gonna Love You (Neale Johns) - 9:58
3. Still Alive And Well (Rick Derringer) - 3.32
4. Slippin' And Slidin' (Little Richard, Edwin Bocage, Al Collins, James Smith) - 4:26
5. Boppin' The Blues (Carl Perkins, Howard "Curley" Griffin) / Let's Twist Again (Kal Mann, Dave Appel) / I Just Love To Rock 'N' Roll (Neale Johns) - 14:35
6. Pineapple (Neale Johns) - 5:37
7. Gee Willikers (Neale Johns) - 4:55
8. Own Way Of Living (Neale Johns) - 8:03
9. Red Head Rag (Neale Johns) - 6:22
10.D.Boogie (Muma Roll) (Neale Johns) - 4:57
11.Boppin' The Blues (Carl Perkins, Howard "Curley" Griffin) - 6:33
12.Lay Down Lady (Neale Johns) - 4:11
Bonus tracks 6 - 12 from Boppin' The Blues 1972 album.
The Blackfeather
*Neale Johns - Vocals
*Lindsay Wells - Guitars (Tracks 1-5)
*Tim Piper - Guitars (Tracks 1-5)
*Warren Ward - Bass
*Warren Morgan - Piano
*Greg Sheehan - Drums
*Trevor Young - Drums
*Paul Wylde - Piano (Tracks 6-12)
*Billy Taylor - Guitar
Mike Tinglay was from Anaheim, California, his sole release The Abstract Prince" was recorded at the Phonogram studios in Hiversum, Holland in February 1968.
Folk baroque psych, sometimes sounds bit too mellow, but this was more or less usual for the time. Another point is the subject matter of the lyrics, not just love themes for broken heart stories and the peace-love-dove messages that we'd expect, but also to political themed songs, like the marvelous title track.
Mike remained in the music business for about a decade or so and then he worked as a winemaker in California.
Tracks
1. A Real Fine Time - 2:49
2. Begin The Sun - 2:54
3. Connected To Nothing - 1:43
4. Emotions And May - 2:58
5. Monotony's Message - 3:31
6. See The People - 2:15
7. Abstract Prince - 2:58
8. Of Sand - 1:29
9. Of Soul And Deed - 2:58
10.I Weep - 3:16
11.It's Time To Leave Her - 2:48
12.Crossroads - 1:57
Words and Music by Mike Tingley
This modestly influential master s/s from the Greenwich Village '60s set (he wrote Violets Of Dawn and Close The Door Lightly When You Go, to name but two titles), enjoyed a healthy modicum of success after a run of moderately well-selling LPs for Vanguard with his first album for Columbia, 1972's Blue River. Here it enjoys a timely reissue on BGO, in a two-disc set coupled with its intended followup Stages, of which, as the subtitle implies, the master tapes were initially lost (they subsequently turned up in the Columbia vaults in 1989, and were eventually released in 1991). I think this is the first time these two albums have appeared on CD coupled together in one sensible package, and all tracks have been remastered in 2014 for this new BGO release, the well-filled booklet for which, in addition to the original extra notes for Stages' 1991 appearance, contains a new essay by John O'Regan that grants a useful perspective on this often undersung figure who to date has released well over 25 albums yet without gaining mainstream recognition despite producing work of consistent, enduring quality. Blue River is often considered by critics to be Andersen's creative masterpiece, and contains a number of songs regarded by critics as central to his output, songs that display his quintessential, trademark quality of delicate "resigned fractured romanticism": Is It Really Love At All?, Sheila, Wind And Sand, and of course the disc's title song (which features some beautiful backing vocals courtesy of Joni Mitchell and Deborah Green Andersen). These are complemented by the Dylanesque More Often Than Not and the gospel-style arrangement of Round The Bend. The latest reissue of Blue River is usefully supplemented with the same two bonus tracks recorded at the album sessions which were a feature of the album's 1999 Sony Legacy CD edition: the tender Come To My Bedside, My Darlin' and the rollicking cajun-inflected cover of Hank Williams' Why Don't You Love Me?.
It's widely acknowledged that Stages is of such quality that if it had appeared at the time (instead of being lost) it might have given Andersen a degree of mainstream acceptance and capitalised on the success of Blue River. Its opening song, Baby I'm Lonesome, was a particularly lovely example of the classic country waltzer, and the gentle backdrop proved just perfect and an ideal template for the rest of the album, on which a host of top-drawer session musicians, including Leon Russell, David Briggs and Kenny Malone, were used commendably sparingly. The overall standard of Stages' songs was such that no fewer than six of its songs were deemed so worthy of not being lost that they were reworked for Andersen's 1975 Arista album Be True To You; these naturally included Moonchild River Song and Woman, She Was Gentle (which featured Joan Baez on backing vocal), and the evocative 8½-minute meditation Time Run Like A Freight Train. Sure, there were a couple of rather mundane rockers tucked in there amongst the exquisite gems, although the third rocker, Wild Crow Blues (in praise of Patti Smith), was more convincing. The three bonus tracks for this reissue are identical to those that graced the 1991 CD. The first, Dream To Rimbaud, is the pearl of the collection, and was recorded at the same time as the Blue River album, whereas the final three cuts (Make It Last, Lie With Me and Soul Of My Song) were recorded in late 1990, shortly after the 1989 comeback album Ghosts Upon The Road and just prior to the eventual release of the Stages tracks; the backing crew on these tracks includes Rick Danko, Garth Hudson, Eric Bazilian, Andy Newmark and Shawn Colvin.
Together, these two albums represent Andersen's craft at a peak, encapsulating a mature, bittersweet attitude to life and love that was rarely equalled even amongst Andersen's peers. Congratulations to BGO on this expertly remastered and well presented new edition.
by David Kidman
Tracks Disc 1 Blue River 1972
1. Is It Really Love At All - 5:20
2. Pearl's Goodtime Blues - 2:20
3. Wind And Sand - 4:28
4. Faithful - 3:14
5. Blue River - 4:44
6. Florentine - 3:29
7. Sheila - 4:35
8. More Often Than Not (David Wiffen) - 4:50
9. Round The Bend - 5:37
10.Come To My Bedside, My Darlin' - 4:57
11.Why Don't You Love Me (Hank Williams) - 2:45
All compostisions by Eric Andersen except where indicated
Disc 2 Stages: The Lost Album 1972-73
1. Baby, I'm Lonesome - 3:17
2. Moonchild River Song - 4:19
3. Can't Get You Out Of My Life - 2:53
4. Woman, She Was Gentle - 4:17
5. Time Run Like A Freight Train - 8:29
6. It's Been A Long Time - 3:20
7. Wild Crow Blues - 6:10
8. Be True To You - 3:06
9. I Love To Sing My Ballad, Mama - 2:55
10.Dream To Rimbaud - 6:22
11.Make It Last (Angel In The Wind) - 4:51
12.Lie With Me - 3:50
13.Soul Of My Song (Eric Andersen, Jonas Fjeld, Willie Nile, Ole Paus) - 3:55
All songs by Eric Andersen except where stated
Prior to the release of the (at the time, disappointing) Live album in 1974, the only officially available record of Mott the Hoople's live prowess was one track tacked onto the end of 1971's Wildlife album, a protracted take on "Keep a Knockin'" that was, apparently, the only salvageable cut from a projected full live album. The rest, producer Guy Stevens insisted, was so marred by technical problems as to be unusable. However, 36 years later listeners would discover that Stevens was a lot of things, but -- at least on this occasion -- he wasn't necessarily honest. Fairfield Halls, Live 1970 captures the full concert, from the tumultuous opening "Ohio," all ragged guitars and Verden Allen's foreboding organ, through a dynamite "Rock and Roll Queen" and three slabs from the then-forthcoming Mad Shadows, and on to the closing oldies, "Keep a Knockin'" and "You Really Got Me."
And, alongside the Fillmore tapes recorded earlier in the year, at last the true magic of the original Mott the Hoople has been unleashed, a rock band that could have redefined "rock" if only more breaks had gone its way. Less exciting, but filling up the disc regardless, five tracks recorded five months later in Sweden (and previously available on the same label's All the Way from Stockholm to Philadelphia: Live 71/72 set) repeat "Thunderbuck Ram" but do add a Himalayan "Walkin' with a Mountain," "Laugh at Me," and "The Original Mixed Up Kid" to the brew, plus a volcanic cover of Mountain's "Long Red" that will leave you reeling. As if the rest of the disc hasn't already battered you hard enough.
by Dave Thompson
Tracks
1. Ohio (Neil Young) - 5:00
2. No Wheels To Ride (Ian Hunter) - 7:45
3. Rock 'N' Roll Queen (Mick Ralphs) - 5:18
4. Thunderbuck Ram (Mick Ralphs) - 4:56
5. When My Mind's Gone (Ian Hunter) - 6:42
6. Keep A Knockin' (Richard Wayne Penniman) - 8:28
7. You Really Got Me (Ray Davies) - 8:55
8. Long Red (Leslie West, Felix Pappalardi, John Ventura, Norman Landsberg) - 4:22
9. The Original Mixed-Up Kid (Ian Hunter) - 4:37
10.Walking With A Mountain (Ian Hunter) - 7:08
11.Laugh At Me (Sony Bono) - 5:46
12.Thunderbuck Ram (Mick Ralphs) - 4:42
Tracks 1-7 Recorded 13th September 1970 at Fairfield Halls, Croydon, England
Tracks 8-12 Recorded 16th February 1971 at the Konserthuset, Stockholm, Sweden
"Enigmatic" was the tag oft-times tossed 'round Bill Fay, whose loyal cult following grew significantly over the years. Signed to Decca, the singer/songwriter and pianist released two albums in the late '60s and early '70s; their haunting, darkly shadowed songs were never meant to appeal to the masses, even at the height of the psychedelia-streaked introspection sparked by the soul-searching of the day.
While the Beatles flew off to meet the Maharishi, Fay fell under the spell of a 19th century compendium of commentaries on the Biblical books of Daniel and Revelations, which would inspire his second album, Time of the Last Persecution. But before the born-agains jump on to the Fay bandwagon, they should be warned that the artist was equally influenced by the ravaging events of the day. The title track, "Time of the Last Persecution," was written in an immediate and visceral response to the killings of four students at Kent State.
Even in 1971, the intensity of Fay's lyrics -- reflecting his commentaries in their poetical language, their highly introspective nature, the brooding quality of the music, all exquisitely enhanced by Ray Russell's evocative blues guitar work -- left most reviewers cold and confused. In truth, the album would have slotted much more neatly into the coming firestorm that descended on Britain later in the decade, and would have provided a surprisingly supple bridge between the apocalyptic visions of roots reggae and the political polemics of punk.
The set certainly contains all the fire and fury of the latter movement, as well as the deeply dread atmospheres of the former. By 2005, with the rise of evangelicalism and Christian rock, Persecution no longer sounds so obscure or out of place; it is, however, a personal journey of spirituality, not a platform from which to proselytize. For all its dark vision, it's the possibility of peace and hope that shines through the gloom, and as for all the seeming quietude of the music, it thunders, too, with a power and emotion that speak in volumes as loudly as Fay's striking lyrics.
by Jo-Ann Greene
Tracks
1. Omega Day - 3:14
2. Don't Let My Marigolds Die - 2:26
3. I Hear You Calling - 2:57
4. Dust Filled Room - 2:03
5. 'Til The Christ Come Back - 3:08
6. Release Is In The Eye - 2:41
7. Laughing Man - 3:15
8. Inside The Keepers Pantry - 2:29
9. Tell It Like It Is - 2:32
10.Plan D - 3:12
11.Pictures Of Adolf Again - 2:27
12.Time Of The Last Persecution - 3:54
13.Come A Day - 2:27
14.Let All The Other Teddies Know - 2:31
Lyrics and Music by Bill Fay
A singular talent who passed almost unnoticed during his brief lifetime, Nick Drake produced several albums of chilling, somber beauty. With hindsight, these have come to be recognized as peak achievements of both the British folk-rock scene and the entire rock singer/songwriter genre. Sometimes compared to Van Morrison, Drake in fact resembled Donovan much more in his breathy vocals, strong melodies, and the acoustic-based orchestral sweep of his arrangements. His was a much darker vision than Donovan's, however, with disturbing themes of melancholy, failed romance, mortality, and depression lurking just beneath, or even well above, the surface. Ironically, Drake has achieved a far greater stature in the decades following his death, with an avid cult following that grows by the year.
Part of Drake's failure to attract a mass audience was attributable to his almost pathological reluctance to perform live. It was at a live show in Cambridge, however, that a member of Fairport Convention saw Drake perform, and recommended the singer to producer Joe Boyd. Boyd, already a linchpin of the British folk-rock scene as the producer for Fairport and the Incredible String Band, asked Drake for a tape, and was impressed enough to give the 20-year-old a contract in 1968.
Drake's debut, Five Leaves Left (1969), was the first in a series of three equally impressive, and quite disparate, albums. With understated folk-rock backing (Pentangle bassist Danny Thompson plays bass on most of the cuts), Drake created a vaguely mysterious, haunting atmosphere, occasionally embellished by tasteful Baroque strings. His economic, even pithy, lyrics hinted at melancholy, yet any thoughts of despair were alleviated by the gorgeous, uplifting melodies and Drake's calm, measured vocals. Bryter Later (1970) was perhaps his most upbeat effort, featuring support from members of Fairport Convention, and traces of jazz in the arrangements. On some cuts, the singer/songwriter, remarkably, dispensed with lyrics altogether, offering only gorgeous, orchestrated instrumental miniatures that stood well on their own.
Neither album sold well, and Drake, already a brooding loner, plunged into serious depression that often found him unable to make music, work, or even walk and talk. He managed to produce one final full-length work, Pink Moon (1972), a desolate solo acoustic album that ranks as one of the most naked and bleak statements in all of rock. He did record a few more songs before his death, but no more albums were completed, although the final sessions (along with some other fine unreleased material) surfaced on the posthumous compilation Time of No Reply.
Drake's final couple of years were marked by increasing psychiatric difficulties, which found him hospitalized at one point for several weeks. He had rarely played live during his days as a recording artist, and at one point declared his intention never to record again, although he wished to continue to write songs for others. (It's been reported that French chanteuse Françoise Hardy recorded some of Drake's songs, but she hasn't released any.) On November 25, 1974, he died in his parents' home from an overdose of antidepressant medication; suicide has been speculated, although some of his family and friends dispute this.
In the manner of the young Romantic poets of the 19th century who died before their time, Drake is revered by many listeners today, with a following that spans generations. Baby boomers who missed him the first time around found much to revisit once they discovered him, and his pensive loneliness speaks directly to contemporary alternative rockers who share his sense of morose alienation.
Hunger for "new" Nick Drake material had reached enough of a fever pitch by the 21st century for Island to try digging up enough for this odd patchwork collection, combining outtakes with remixes of tracks that had been previously issued on the Time of No Reply album. The result is a curious disc that's not quite an anthology of wholly previously unreleased material, and thus of somewhat limited value to Drake collectors, though it contains much good music. The only song here previously unavailable in any form is the 1974 outtake "Tow the Line," a melancholic solo acoustic performance (as are most of the tracks on the CD) that's well up to the standards of Pink Moon and the 1974 tracks that previously surfaced on Time of No Reply.
Also new to official release are spring 1968 solo acoustic versions of "River Man" (later to appear on Five Leaves Left with orchestration) and "Mayfair" (a later recording of which was used on Time of No Reply), as well as a March 1969 version of "Three Hours" that's longer than the one later cut for Five Leaves Left. There's also a newly discovered take of "Hanging on a Star" (one of the 1974 outtakes used on Time of No Reply) with a different vocal. The differences between these and the familiar studio renditions aren't knock-your-socks-off different, but certainly good and well worth hearing by Drake cultists.
It's the rest of the material that might be the target of criticism from concerned consumers, whether for posthumous tampering or redundancy with previously available albums. Most controversially, two tracks from Time of No Reply -- "Time of No Reply" itself and "I Was Made to Love Magic" (the latter here, for some reason, retitled simply "Magic") -- have been altered to include Robert Kirby's original orchestral arrangements, recorded in 2003. Actually in both instances, the substituted orchestration is integrated very tastefully, but it can never be answered whether Drake himself would have approved or had it done the exact same way.
The remaining cuts are simply remixes or remasterings of six songs that appeared on Time of No Reply, the remixes of the 1974 songs "Black Eyed Dog," "Rider on the Wheel," and "Voices" (originally titled "Voice from the Mountain" when it first appeared on Time of No Reply) being done by the original recording engineer, John Wood. Though those remixes of the 1974 tracks in particular are an improvement (the songs on the original release had been mixed onto a mono listening tape), again it's not the sort of thing that will generate revelations unless you're an audiophile. As everything Drake recorded was worth hearing, this CD too is quite worthy judged in isolation, and certainly full of the subdued mystery the singer/songwriter brought to his music. It's just not the gold mine of discoveries for which some might have hoped.
For many years after his death, unreleased home tapes that Nick Drake made shortly before beginning his official recording career have been bootlegged among collectors. The 28 songs on Family Tree add up to an extensive (though not quite complete, missing some minor covers like "Get Together," "Don't Think Twice, It's Alright," and "Summertime") compilation of the performances he recorded on such equipment before he cut his debut album, 1969's Five Leaves Left. The bulk of it, and the part that's been oft-bootlegged, was recorded on a reel-reel at his family home (and include a vocal duet between him and sister Gabrielle Drake on "All My Trials," though otherwise they're all solo performances).
Less familiar, and hence probably new even to many hardcore Drake collectors, are eight songs taped on cassette somewhat earlier during his spring 1967 stay in Aix-En-Provence in France, as well as a couple of earlier versions of songs that later appeared on Five Leaves Left that were taped by Robert Kirby in 1968, and a couple recordings of songs sung and played (on piano) by Nick's mother, Molly Drake. Many Drake fans will already be familiar with the performances he taped at his family home, but the cleaned-up sound here makes this disc much easier to listen to than those earlier unauthorized releases, though everything's still (inevitably given the sources) a little lo-fi.
As for the music, it's a very pleasant and listenable portrait of Drake's folk roots, though not on par (and not meant to be) with his studio releases. For one thing, at this point, he wasn't playing much of his own material; most of the songs are traditional folk tunes, or covers of compositions by '60s folk songwriters that were obviously big influences on Drake, such as Bert Jansch, Jackson C. Frank, and Dylan (and, on "Been Smokin' Too Long," a friend he met in France, Robin Frederick). Also, both his guitar work and singing are more derivative of the likes of Jansch, Donovan, and country bluesmen such as Blind Boy Fuller (whose "My Baby's So Sweet" he covers here) than they would be by the time he settled into his own style on Five Leaves Left. Still, much of what makes Drake special does come through, even with the relatively low percentage of original material and primitive recording conditions.
His folk guitar work is already nimble, but more striking are his vocals, which already boast his characteristic mixture of assured slight smokiness and English reserve. And the few Drake compositions put his reclusive yet poetic world view in greater, more original focus, though it's really only on the songs later used on Five Leaves Left (and, perhaps, the haunting if Donovan-esque "Strange Meeting, Pt. 2") that it becomes fully mature. The two Molly Drake songs, incidentally, aren't mere completist add-ons; they make it clear that she was likely a substantial influence upon her son's melancholy melodies and songwriting, if perhaps a subliminal one. Less essential, though still illuminating for the dedicated Drake fan is a classical instrumental (by "the Family Trio") with Nick on clarinet.
by Richie Unterberger
Tracks Disc 1 - Five Leaves Left 1969
1. Time Has Told Me - 4:27
2. River Man - 4:22
3. Three Hours - 6:15
4. Way To Blue - 3:11
5. Day Is Done - 2:28
6. Cello Song - 4:48
7. The Thoughts Of Mary Jane - 3:22
8. Man In A Shed - 3:55
9. Fruit Tree - 4:49
10.Saturday Sun - 4:05
All Songs by Nick Drake
Disc 2 - Bryter Layter 1970
1. Introduction - 1:32
2. Hazey Jane Ii - 3:46
3. At The Chime Of A City Clock - 4:45
4. One Of These Things First - 4:51
5. Hazey Jane I - 4:29
6. Bryter Layter - 3:22
7. Fly - 3:00
8. Poor Boy - 6:09
9. Northern Sky - 3:45
10.Sunday - 3:43
All Compositions by Nick Drake
Disc 3 - Pink Moon 1972
1. Pink Moon - 2:06
2. Place To Be - 2:43
3. Road - 2:02
4. Which Will - 2:58
5. Horn - 1:23
6. Things Behind The Sun - 3:57
7. Know - 2:25
8. Parasite - 3:36
9. Free Ride - 3:06
10.Harvest Breed - 1:37
11.From The Morning - 2:32
Words and Music by Nick Drake
Disc 4 - Made To Love Magic 1968-74
1. Rider On The Wheel - 2:37
2. Magic - 2:45
3. River Man - 4:01
4. Joey - 3:03
5. Thoughts Of Mary Jane - 3:38
6. Mayfair - 2:11
7. Hanging On A Star - 3:23
8. Three Hours - 5:11
9. Clothes Of Sand - 2:31
10.Voices - 3:46
11.Time Of No Reply - 2:48
12.Black Eyed Dog - 3:34
13.Tow The Line - 2:16
Lyrics and Music by Nick Drake
Disc 5 - Family Tree 1968
1. Come In To The Garden (Introduction) - 0:32
2. They're Leaving Me Behind - 3:17
3. Time Piece - 0:43
4. Poor Mum - 1:38
5. Winter Is Gone - 2:43
6. All My Trials - 1:55
7. Kegelstatt Trio - 1:13
8. Strolling Down The Highway (Bert Jansch) - 2:50
9. Paddling In Rushmere - 0:24
10.Cocaine Blues - 2:59
11.Blossom - 2:41
12.Been Smokin' Too Long (Robin Frederick) - 2:13
13.Black Mountain Blues - 2:36
14.Tomorrow Is A Long Time (Bob Dylan) - 3:42
15.If You Leave Me - 2:02
16.Here Come The Blues - 3:53
17.Sketch 1 - 1:00
18.Blues Run The Game - 2:24
19.Milk And Honey - 2:59
20.Kimbie - 3:26
21.Bird Flew By - 2:54
22.Rain - 3:07
23.Strange Meeting Ii - 4:27
24.Day Is Done - 2:20
25.Come Into The Garden - 2:00
26.Way To Blue - 2:52
27.Do You Ever Remember? (Molly Drake) - 1:34
All Songs by Nick Drake except where Stated
Musicians Disc 1 - Five Leaves Left 1969
*Nick Drake - Vocals, Acoustic Guitar, Piano
*Danny Thompson - Bass
*Richard Thompson - Electric Guitar
*Paul Harris - Piano
*Rocki Dzidzornu - Congas
*Clare Lowther - Cello
*Tristam Fry - Drums, Vibraphone
*Robert Kirby - Arrangements
