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LILY'S IN THE FIELD (WITH ANNIE HASLAM)

Steve Howe

Crossover Prog


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Steve Howe Lily's in the Field (with Annie Haslam) album cover
3.08 | 5 ratings | 1 reviews | 20% 5 stars

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Singles/EPs/Fan Club/Promo, released in 1995

Songs / Tracks Listing

1. Lily's in the Field (4:36)

Total Time 4:36

Line-up / Musicians

- Steve Howe / guitars
- Annie Haslam / vocals
- David A. Biglin / additional instruments

Releases information

CD Single Tcg Records ‎112195 Canada

Thanks to Per Köhler for the addition
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STEVE HOWE Lily's in the Field (with Annie Haslam) ratings distribution


3.08
(5 ratings)
Essential: a masterpiece of progressive rock music(20%)
20%
Excellent addition to any prog rock music collection(20%)
20%
Good, but non-essential (40%)
40%
Collectors/fans only (20%)
20%
Poor. Only for completionists (0%)
0%

STEVE HOWE Lily's in the Field (with Annie Haslam) reviews


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Collaborators/Experts Reviews

Review by Matti
PROG REVIEWER
3 stars This song is a collaboration between the virtuotic YES guitarist Steve Howe, the wonderful RENAISSANCE vocalist Annie Haslam and multi-instrumentalist/producer David A. Biglin. As one can figure out from the cover, the single was connected to a benefit concert (by various artists, I suppose) for orphan children in Bosnia-Hercegovina. In the same year 1995 Haslam and Biglin collaborated in the Genesis tribute album "Supper's Ready" for a very beautiful version of 'Ripples', and Steve Howe has collaborated with Haslam also for a charming version of the Yes ballad 'The Turn of the Century'. That song and 'Lily's in the Field' are both included on Steve Howe's 3-CD set "Anthology 2 - Groups and Collaborations" (2017). This particular song was also included on Howe's album "Homebew 4" (2009) and on Haslam's "Woman Transcending - Rare Recordings from Annie Haslam's Musical Journey" (2007).

'Lily's in the Field' was written by Howe and Haslam. David Biglin seems to handle all the other instruments besides Howe's guitar. For the first ten seconds there's only an acoustic guitar, and a promise of a delicate, elegant piece of classical orientation, but right away when the clinical pop production sets in, I feel somewhat disillusioned. Especially the programmed drums sound flat and boring, and IMHO should have been left out at least for the most part. The ethereal synths are mainly filling the background. I'm sure if this song had been arranged as a simple duet between Haslam's angelic voice and Howe's acoustic guitar mastery, the result would have been much, much more enjoyable.

The peaceful minor key song itself is quite beautiful but not deeply impressive or emotionally powerful. Slightly lacklustre perhaps, sad to say. Biglin did so much better work with the above mentioned Genesis cover 'Ripples'. Can't rate this song higher than three stars.

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