REBIRTH

During their brief existence from 1967 to 1971, Blonde on Blonde recorded just three albums. The first of these, "Contrasts" took the best part of two years to be released, but this album followed relatively quickly just over a year later. In between the first and second albums, lead vocalist and guitarist (and de facto band leader) Ralph Denyer left the band, to be replaced by David Thomas. (see the entry for Aquila on this site for details of Denyer's subsequent activity.) Given the major setback of Denyer's departure, and the difficulty the band had in coming up with material for "Rebirth", the omens were not good for the second album. It is therefore pleasing to report that this release is generally acknowledged to be the band's finest album.

Given that this album dates from almost 40 years ago, it may seem odd to talk about it as sounding "dated". The fact is though that even in 1970, there was a retro feel to the music here. The sound is that of the period around the summer of love in 1967, replete with psychedelic lyrics and colours. Take for example the opening "Castles in the sky", a song which was released as a single. The high pitched vocals of David Thomas and the harmonised ah-ah backing vocals might have achieved instant success had they been recorded just three years earlier, but to paraphrase another Dylan title, "The times they (were) a-changing".

Of the eight tracks in total here, five follow the relatively simple psychedelic pattern of "Castles in the sky". They are certainly enjoyable, and sound like genuine proto-prog, the only problem being that by late 1970, prog had enjoyed its own birth. That is not to say there is not some good stuff to be found there. "Heart without a home" is a great 5½ minute romp, with superb use of stereo (a sadly forgotten skill) and some really dirty lead guitar. "Time is passing" is a great piece of retro-pop, reminiscent of the style of Gary Puckett and the Union Gap.

That leaves us with three tracks which actually constitute well over 50% of the album. The first of these, "Circles", continues the psychedelic atmosphere but in a far more complex and acidic way. There are nuances of the longer tracks of the Doors here, the track weaving through constant changes in tempo and melody. Once again, the lead guitar work is superb, even when it is shunted off into a single channel leaving just the drums in the other! While it all feels a bit disjointed, there is a definite appeal in the way the constituent parts make up the whole.

The longest track on the album is the 12 minute "Colour questions". This monster sets off at lightning speed, sounding like an alternate take of Love Sculpture's interpretation of "Sabre dance". Thomas soon steps in to bring some sort of order in the vocals, but even these are less structured than on the short tracks. The verses alternate with wild guitar segments which once again challenge the stereo separation to the full, while good old mellotron drifts in and out.

The final track is actually a combination of two shorter tracks to form an 8 minute piece. "You'll never know me/Release" is a more orthodox number, but features some exquisite piano.

In all, an album which will appeal to those who enjoy the psychedelic music of the late 1960's more than those who seek the pioneering prog of the early 70's. While there are a few twists and turns here, including a couple of fine long tracks, this is essentially the sound of proto-prog recorded after the event.

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