TUDOR LODGE

Yet another folk-rock group from the early 70'ss which made a superb album, actually released on the famous Vertigo �??swirl�?� label with a stunning fold-out artwork, which under its original and mint state will fetch almost a four figure price. Actually I can only tell you that unless you plan to frame the artwork and hang it on your wall, this price is really overdone, especially now that this has been released under three (four with the vinyl re-issues) different forms: a Repertoire release in the early 90�??s, a rather expensive Japanese mini-Lp release (but the fabrication is outstanding) and again another Repertoire release but this time in a mini-Lp format (not as outstanding but at half the price of the Japan version). If I must give you an advice (should you choose to investigate this beautiful and pastoral folk rock), I would encourage you to take the third choice.

However, enjoyable this group might be, it is of a limited interest for the proghead looking for intricate music. Despite its historic Tudor-allusion in its name, one cannot say that the music is much different than Fairport Convention or Amazing Blondel, do not look at ancient music influences here, although here and there, there are hints of it. Often compared (and sometimes mixed-up with) to Trader Horne, the music does bear resemblance also to Fotheringay,

Full of hippy ideals, this singing guitar trio (Ann Steuart also plays piano and flute) gets some help from other horn musicians and a string section and most of all, the participation of giant double-bass master Danny Thompson (of Pentangle, John Martyn and Tim Buckley fame) even if he stays more discreet (not mixed loud enough) on this album than in others. The music stays completely acoustic (except for the odd electric guitar on one superb track - The Lady Is Changing Home), and sometimes also instrumental (Madeline) displaying a certain kind of virtuosity that every proghead will love.

If you have enjoyed the afore-mentioned groups in this review, no doubt you will appreciate this record and therefore only the tough choice I presented you with in the first paragraph, but even then I help you out, you lucky SOB ;-) Run for it!!!!

I found a Repertoire's re-issue vinyl of this album when I searched for psych folk albums with lady singers at my youth. I was mostly stunned by the promises of beautiful psychedelic drawings of the album sleeve, and these expectations were quite well met on both musical and aesthetic levels too, though some maturing was needed from my own part.

The medieval elements are mostly focused to instrumental classic guitar song "Madeline", and to the chamber music sequences of wonderful "Willow Tree", which has also fine psychedelic load in the freely weaving starting part. There are also some anti-war 60's folk songs resembling Peter, Paul & Mary like "I See A Man", and more casual folk charmers like "Two Steps Back". A small chamber orchestra is participating on majority of the tracks, and this brings lots of more to listen, but also deepen some slightly banal "Disney emphasizing" of the music. Well, Ann Steuart's voice is very lovely, and his hippie boyfriends do decent support with harmonies and guitars. "Lady's Changing Home" is the solitary folk rock number here with amplified instruments, and "Forest" is also a song worth to mention, painting a light and relaxing scenario of lovely day among the glades.

This album has been produced quite well, so there are no amateurish playing nor arrangements found here, and the sound quality of the recording is excellent. Though there were some characteristics in few compositions which first felt bit unpleasant to me, maybe it is fun to learn adopt all sweet and positive things as favorable experiences. However there are many beautiful scenarios on this album, and I can't emphasize too much to get it as a vinyl with wonderful opening gatefold artwork.

There is something very special about the british folk-boom of the 60's and 70's. Sure, the boom was not all british but came to be in parts all over the world. But for me it's the british folk-scene that is most intriguing and brings me to think of green pastures, meadows, the past, love and death, hardship and amazing musicianship. I am a great fan of Pentangle, Fairport Convention and Steeleye Span (to name but a few, though well known bands). But there are also great albums from other constellations, lesser knownor with a lifespan considerably shorter, like Tudor Lodge.

I've been slightly hesitant towards Tudor Lodge. From what I had heard it really wasn't quite what I was looking for in british folk, being slightly too american for my taste. At least that was my conception. Now, in possession of the Repertoire papersleeve reissue, I find myself nodding in recognition of my fears but also acknowledging the fact that it was not so american as I'd thought.

Surely there are american nods on here but not in a totally unattractive way, as on the Baby Whale album. The sounds of the british isles blend very well with the ever so slightly spiced americana, creating a very cohesive sound and record. I wish there would have been more of the traditionally sounding british prog folk but then again, it actually sounds great.

The music on Tudor Lodge is very mellow, harmony drenched and dreamy. It sounds extremely professional and thought through. Considering the mere two weeks it took to record it I find myself baffled and in awe. I suppose the group must have been very tight, having played and rehearsed alot before entering the studio.

The instrumentation on the album is amazing. All kinds of acoustic playing can be heard, only once or twice becoming electrified. I am amazed, really. What I had thought before seem now like totally untrue. The truth is that Tudor Lodge is a great album, full of the folk I adore. This is classic and really comparable to other stars of the same era, though sounding in a really personal fashion, not copying any of it's peers in Pentangle, Fairport or whoever.

In short: Tudor Lodge delivers an album of amazing, delicate, gentle folk in a completely individual fashion. It's a shame (or is it a blessing?) they did not make another album at the time. On the other hand the impact seem so much greater now, the legacy more intriguing and mysterious. Although the album may be a footnote in the history of music it remains a vibrant footnote. If you're into this kind of stuff I really recommend you get hold of a copy. Like, now? Yes. Right now.

Although generally considered to be part of the progressive folk scene (and indeed it was originally released on the famed Vertigo label), the emphasis is very much on the folk side of the equation here, and fans of Fairport Convention and other pioneers of British folk rock would probably have just as much chance to enjoy this one as pursuers of folk-prog. The warm, evocative production in particular makes the album a pleasant and approachable listen, and the very occasional inclusion of more psychedelic or electric elements stops things getting samey; on top of that, the band manage to deal with the inclusion of a chamber orchestra on most of the tracks without allowing the orchestra to overpower them or make things too schmaltzy.

Tudor Lodge - st (1970)

As I was you-tubing the Akarma vinyl reprint label's catalog my eye fell on this folky songwriters album from the obscure Tudor Lodge. When I finally unwrapped this beautiful animated record I was happy to find a great album with nothing but strong songs well performed and well arranged with the help of a variety of musicians (wind, strings, percussion). The recording quality (on my Akarma reprint) is sublime! Warm, soothing and very professional. I don't think that an album like this would be added under the current progarchives restrictions, but it's a great folk record that will be very hard to dislike for everyone interested in early seventies music.

I quickly found that the women in my life also like this record, an effect other recent purchases like T2 and The Human Beast did not have. The special designed fold-out sleeve with fantasy drawings of the three band- members are also an eye-catcher. I myself like the relaxing atmospheres and the tenderness of it all. Some songs do have some harmonically interesting parts and especially the wind-instruments may remind me a bit of King Crimson's 'I talk to the wind' - but let's not stretch it too much.

Four stars it is. Dig it up, uncover it and enjoy!

From Reading, John "Cee" Stannard and Roger Strephens started this band as a coffeehouse duo in 1968 but, in 1969, Lyndon Green replaced Strephens and American singer/flutist Ann Steuart joined to form the band that toured the south of England for a couple years before it recorded this album and released it in August of 1971.

1. "It All Comes Back To Me" (4:19) The vocal performances supported by a gorgeous if simple weave of acoustic guitars and strings are absolutely heart-wrenchingly beautiful. The surprising participation of bass virtuoso Danny Thompson (THE PENTANGLE) is uncharacteristical subdued. Maybe he understood the exceptional chemistry of the lead trio and did not wish to intrude. My first top three song. (9.5/10)

2. "Would You Believe?" (2:29) sounds almost like a song from the musical Godspell. There is a certain surprising maturity expressed through the design and recording of this song that belies the ages of its twenty-something band members. (8.75/10)

3. "Recollection" (3:17) more musical balm. Some of the best three-part vocal harmonies you'll hear.(8.75/10)

4. "Two Steps Back" (2:51) I feel certain that this one should have been a major hit back in the day. Wonderful performances by all musicians but none more than Ann Steuart. A top three song for me.(9.25/10)

5. "Help Me Find Myself" (4:19) harnassing a bit of the Country-Western twang in this one gives it a little more of an American (or Irish) feel to it. The rather straightforward folk ballad feel is also different from most of the album's other songs. Nice vocal arrangements for the choruses. (8.6667/10)

6. "Nobody's Listening" (3:30) this one must have been very informative and inspirational for the work of Tracey Thorn and Ben Watt as it sounds very much like something off of Tracey's 1982 solo album, A Distant Shore as well as a few songs off of their debut Everything But The Girl album. (8.75/10)

7. "Willow Tree" (3:20) jarringly different from anything else before or after this song, there is an eerie sci-fi free-form jazz soundtrack feel to the opening minute of this. As the guitar, flute, double bass and horn establish the contextual field for the multi-voice singing to come some sense (and beauty) comes out of the chaos. Wonderful play with nuances within minor chord progressions. (8.875/10)

8. "Forest" (3:34) John in lead vocal among guitars and jazzy winds. When Annie takes over for the second verse, the sonic field is much more simplified--with no orchestral embellishments until after her singing when Danny T's bass, the orchestral strings, and Annie's own flute flit and dash among one another. John and Lyndon take on the third verse as Annie continues adding her flute to the mix, but then all three participate in a kind of PETER PAUL AND MARY triune for the final verse. (8.75/10)

9. "I See A Man" (3:00) feels and sounds exactly like the previous song's music with a different vocal over the top and different embellishments coming from individual orchestral instruments like cor Anglais, glute, and horn. Annie drops her flute for vocal assist in the third verse--her independent vocal woven between the voices of the lead male in a kind of rondo fashion. Very creative! (8.875/10)

10. "The Lady's Changing Home" (4:36) a little more 1960s rock feel to this one--especially in the effect used to treat the lead male voice. Very cool (surprising and unexpected) chord progressions throughout. This could rival anything The Mamas & The Papas did. Perhaps a little more radio and rock oriented but it sure adds a lot to the diversity of the album! My third top three song. (9.125/10)

11. "Madeline" (4:03) a guitar instrumental for solo guitar styled in a nearly Baroque or Victorian fashion. (8.66667/10)

12. "Kew Gardens" (2:18) a pleasantly bucolic finale for this beautiful album. Nice three-part vocal weave though nothing in the song really reaches out and grabs the listener. (4.3333/5)

Total Time: 41:36

A collection of very polished folk original songs that certainly leaves one feeling quite content and pacified. Usually a highlight of any album, the bass play of legend Danny Thompson is surprisingly tempered and copasetic.

B+/4.5 stars; a near-masterpiece of very finely-crafted pop-oriented Folk Rock--something any Prog Folk lover would love to add to their music collection.