THE LION AND THE RAM

The Lion And The Ram or The Return Of Julie Coryell is a rather atypical album of Coryell in the late 70's, where his acoustic guitar runs all over his records, but here he's not solo and there are some tracks played with a group. Yes, Julie's back and not only on the artwork cover, but also on the lyrics (sung by her husband) and somehow, this album is credited as an Eleventh House production, but can't be at all likened to that formation, even if Mike Mandell plays on the album.

While the first two tracks (Larry's Boogie and Stravinsky, where you won't find obvious Strav homage), the later not of Side A are your typical Coryell tunes of the time, the albums takes on a different aura with the lengthy Toy Soldiers, where he multi-tracked himself and uses the 12 strings as well. Anthony Phillips solo career not being far away, here. The side-closing Short Time Around is a full-group track, where LC sings (but it seems that he's lost his rather correct voice of the early 70's, as here it's cringey), but the end result is stuck between an early Steve Hackett solo album (especially the electric guitar part) and then Anthony Phillips' solo albums again.

The Bach piece opening the flipside brings nothing new and helps again the A Phillips reminder. The following Friend's Children is an exciting duet with Joe Beck on bass. The same Beck plays in an acoustic duo in Bicentennial Fest. Fifties and Domesticity are small acoustic tracks that don't stand out much, but fit nicely. The closing title-track is a bit the alter-ego of Short time around ending the other side, therefore hovering between Hackett and Phillips's late 70's albums.

Probably the most interesting post-11th House late 70's acoustic guitar album for progheads, it is warmly recommended if you want to check out this era of his career.

A massive departure from the electric fusion era, this album shifts the gear down to a quieter, mellower but not necessarily less virtuoso playing with emotions and variety. The good thing is that often guitars are in duel which at least gives more rythmical support. Classical music is represented by the reflective "Stravinsky" and "Improvisatons on Bach Lute Prelude". "Toy soldiers" is relative close to an acoustic guitar fusion with some atmospheric guitar chords while "Short time around" is not too different from Genesis guitarists' territory, even Banksy synths support in the background - a quiet ballad. "Domesticity" is another pleasant acoustic workout, this time also a memorable composition. The final title track is perhaps the most complete track on the album helped by violin. A good album for quieter evenings.

An album sans drums or percussion! And essentially an all-acoustic guitar song--this Larry performing 85% of the tracks.

1. "Larry Boogie" (3:32) bass and two acoustic guitars weaving around one another. I'm sure they're having fun but this Americana folk stuff is not my kind of preference. (8.6667/10)

2. "Stravinsky" (3:15) nice classical-sounding guitar phrasings on steel-stringed acoustic guitars. Interesting but a little too loose and bluesy for me. (8.75/10)

3. "Toy Soldiers" (7:40) two gentle acoustic guitars (one belonging to Danny Toan) to sounding like they're playing something for the Windham Hill label--or one of Pat Metheny or John McLaughlin's solo acoustic pieces (New Chautauqua or As Falls Wichita, So Falls Wichita Falls and My Goals Beyond or Shakti, respectively) (or future Steve Tibbetts or Michael Hedges). A very nice piece that keeps me engaged and interested from start to finish. (13.875/15)

4. "Short Time Around" (4:03) a nice gentle pop-folk song with Larry singing his wife's lyrics. I've always liked Larry's voice: He sounds like an unrefined Stephen Bishop or like Randy Newman or Elvis Costello. The doubled-up ERIC CLAPTON-like electric guitar stuff in the "C" section and through to the finish are actually kind of cool. (8.875/10)

5. "Improvisation on Bach Lute Prelude" (2:00) a very nice, pleasing rendering. (4.5/5)

6. "Song for My Friend's Children" (2:46) sounds like a Stephen Stills jam Graham Nash and David Crosby or maybe something early America would have done. (4.375/5)

7. "Bicenntenial Headfest" (3:19) strummed acoustic guitar chords supporting a second track of lead steel-stringed acoustic guitar. This one sounds more GRATEFUL DEAD or RICHIE HAVENS with anybody (though there are little elements of John McLaughlin in there as well). (8.75/10)

8. "The Fifties" (3:26) awesome spacious guitar guitar chords with strong bass notes involved turn into a blues tune at the one-minute mark. The blues motif is disposable, the chord progression motif is priceless. (8.875/10)

9. "Domesticity" (2:12) sounds like DJANGO! With Larry using two guitars to play what Django would play with one (except for those runs). (4.33333/5)

10. "The Lion & The Ram" (4:25) guitars, synths, bass, and Larry singing again: this time sounding more like GIL SCOTT- HERON. Fiddle courtesy of Michal Urbaniak! Then at 1:05 it turns more like Little Feat/Lowell George. The added electrified instruments and fiddle/electric violin are nice but they really add little to what the song would have been with just Larry doing all the tracks himself with his guitars. (8.75/10)

Total Time 36:38

I like the acoustic guitar--and I love Larry Coryell's acoustic guitar playing--both rhythm and lead--I just don't really enjoy the blues or country/folk base of many of the motifs.

B/four stars; an excellent display of Larry Coryell's range and talents, especially if you enjoy slick acoustic guitar work peppered with a couple vocals and some blues.