BLONDEL

This is a very 'Up' album - a collection of simple happy, smiley acoustic folky songs led by acoustic guitars with the 'medieval' instrumentation taking a back seat, though still present. For some reason I am always reminded of Harvey Andrews, circa mid-70s, when I hear this album!

Even on CD, the album is essentially presented as two distinct 'sides'. Chapter 1 is mostly full band arrangements for the songs, separated by short-ish section of orchestral drones. Favourite is the singalong Young Man's Fancy. Chapter 2 works best for me with songs written in a more traditional style and mostly without the bass/drums rhythm section which tends to give it a lighter feel, and also without the orchestral linking sections. Favourite tracks are Sailing pushed along by the guitars with some string and harpsichord accompaniment; the faux-traditional Festival; and the street theatre of Weaver's Market which includes Paul Rodgers on vocals amongst others.

I can see no relevance to Prog, but I have always loved it, so I am loathe to give it less than 3 stars. If you like acoustic guitars in a folky singer-songwriter vein then you should give this a try, and at 39 minutes it clearly doesn't outstay it's welcome.

So other than poking some fun at them once and a while, Amazing Blondel doesn’t really factor into my musical consciousness all that much. They aren’t really my ‘cup of tea’. That said, this is a band that has an interesting history, and for those who are real acousto-geeks, some pretty interesting instruments that aren’t exactly common sights across the progressive landscape. I’ve listed some so you can Google them to see how weird they look: crumhorn, glockenspiel, theorbe, ocarina, cittern, tabor, violone. Have fun.

If you’ve no knowledge of Blondel’s music at all - think a little bit Gryphon, sort of Blackmore’s Night, maybe in the vein of Incredible String Band, along the lines of the Chieftains, bordering on Malicorne, not unlike Richard Thompson, ….. so you get the idea. This is ‘old-fashioned’ music, played with largely acoustic instruments, ethereal lyrical topics from ages long ago, etc., but not really exactly like anyone else.

So, roughly in the company of the aforementioned bands, but also in many ways quite unlike them. What little I’ve read of this band and their fans leads me to believe that even the most subtle distinctions are quite significant to them. Blondel is more vocal than Gryphon, more inclined toward woodwinds (and their custom-made 7-string guitar-lutes) than Night’s twelve-string guitars and other stringed accompaniment, less political than Richard Thompson, decidedly British and so distinct from the Chieftains, and probably a just a tad bit more socially adept than the Incredible String Band. Like Gryphon, they’ve been around since the 60’s, disappeared for a while in the 80’s, and seem to be managing to make a quiet living touring and releasing the occasional compilation and even new material today.

It seems the trio started out in a band called Methuselah, and might have gone down a road more like Jethro Tull were it not for their developing an interest in quieter, more ethnic acoustic songs played in a chamber-like live format (in this case ethnic being more like Renaissance-era British traditional music played by three guys who looked like they were acid freaks from Haight-Asbury). But this is not classical music, and there are accommodations for the modern, including said 7-stringed guitar-lutes with electric pickups built-in, guest musicians like Paul Rodgers and Steve Winwood to give them street-cred, and the occasional off-color bawdy joke between songs. If these guys were of Jewish ancestry and the scene was being played out on the north shore of Lake Michigan in Chicago, we’d probably call it klezmer.

The preceding histography was compiled solely for my personal benefit – thanks for playing along.

Blondel (the Purple Album) was the first recorded by the band as a duo, a situation created by the departure of founding member and chief composer John David Gladwin, apparently due to a disagreement over the extent of touring the label expected from the band (he seems to have returned in the old-timers version of the band that is loosely formed today). Gladwin’s departure meant that composing fell to lutist (is that a word?) Eddie Baird, apparently since Terry Wincott, the other band member, was too busy playing seven or eight different instruments on the album.

The result was an album not quite like the previous ones, or at least what little snippets of those previous ones I have heard. The Purple Album is a bit less ‘minstrally’, more like simply mellow folk music with some precision technical execution. Instead of conjuring up visions of Robin Hood prancing around in tights, you’re more likely to envision a calm meadow full of posies and a babbling brook on the horizon.

“Leaving of the Country Lover” sets the meadow-with-brook tone perfectly, with mild harmonizing vocals that would have done Crosby, Stills & Nash proud. The music is almost completely acoustic, and the string arrangements compliment well without overpowering the song.

“Young Man’s Fancy” almost sounds like an early 60’s pop song in the vein of the Moody Blues, while “Easy Come, Easy Go” adds some very intricate finger work on the two 7- string guitar-lutes played by Baird and Wincott (did I mention Paul Rodgers adds his voice to this album – it’s noticeable here). “Sailing” has a long strumming lead-in and eventually gets to the lyrics, an embarrassingly personal love song to someone Baird must have been pretty fond of.

With “Lesson One” the Moodys sound is actually pretty plain, although Baird’s voice here sounds very much like Arlo Guthrie. “Festival” isn’t very festive, more like a guy with an acoustic guitar playing a soft, sad one to his fair maiden under the grandstands.

“Weaver’s Market” tosses in some female backing vocals, and is more string-intensive than the rest of the album. There’s some background voices rambling as well, I guess simulating market sounds.

The ending song, “Depression”, is very close to a plain old sad John Denver song, heavy on the guitar strings but very little other accompaniment.

Like I said, this kind of music isn’t really my thing, but there was a time years ago when I was a bit more adventurous in randomly selecting unknown music off my local record store shelves just to try it out, and that’s how I came across this one. In some ways it sounds like that is what Amazing Blondel did way back in the late 60’s, only they were actually creating the music, not just listening to it, and it turned somehow into a life-long calling. More power to them.

I’m hesitant to call this progressive music since it’s more like a throwback sound, but prog folk seems to fit well enough for now. Knowing what the band sounds like now, I probably wouldn’t buy this album today, but it’s well enough done and seems to have found an audience, so who am I to judge? A good but not essential album, so three stars it is.

peace

In the broad brush world of progressive rock and its many sub genres, the transitional album is a fascinating beast. Some of the best offerings in history could be so described, as the band has its feet in two eras, the one past and well documented, the other in a yet unrealized future. In the realm of these denizens, "Blondel" is the representative from Amazing Blondel and, depending on your taste, you might regard it as their best. Because it is not quite as unique as their previous efforts, I cannot quite succumb to such platitudes, but suffice to say it is definitely up there.

Without the minstrel John Gladwin himself, AB could have easily packed it in. He really was their sound in so many ways. He wrote most of the songs and did most of the singing, but instrumentally they were group efforts, and Baird and Wincott had to be influenced in the songwriting department by Gladwin's legacy. I would not be surprised to learn that they had actually written quite a bit in the preceding 3 years, because what is presented on "Blondel" is like what came before, except that it sounds influenced by 300 year old music rather than the real deal. Even the subject matter has not changed that much, except that the focus is more on boy-girl romance rather than love of countryside. It's all romance anyway. The harmonies, acoustic instrumentation, heavenly melodies and earnest demeanour all remain. This version may not be as idiosyncratic, but it is just as authentic.

One other characteristic has been inherited - the tendency to front load albums. The components of Side 1 are all breathtaking, enhanced by judicious orchestral introductions and energetic and optimistic verses and choruses. The one that holds up best is "Young Man's Fancy", with its upbeat yet soothing approach and lovely fadeout, but both "Leaving of the Country Lover" and the Paul Rodgers backed "Easy Come Easy Go" are both fluid and captivating. The latter could have been a hit single in its day, and is the first recorded association with Free/Bad Company personnel. Side 2 does contain several gems - "Sailing" and the melodically innovative "Festival".

In retrospect, these modest fellows need not have implied that they were no longer amazing when they labelled this disk. It is of typically high quality and warrants a place in your collection if you ever thought of including soft rock on your top shelf.

If you would except that the leader and brain of the band (John David Gladwin) has left the band; there is nothing really new under the "Amazing Blondel" sun.

There are maybe less medieval sounds in here, but globally the type of music played by the band doesn't leave any place to surprises of any sort. This is folk music: light, acoustic, pleasant at times, naïve ("Sailing") and straight forward ("Lesson One").

Unlike some other bands referenced in the same category, "Amazing Blondel" is hardly prog. At least so far in their career (but they will never be). One can find some fine acoustic moments ("Solo") which sounds quite Hackettesque. But on a global scope, there are hardly anything captivating on this album.

As usual as well, when a track includes some fluting it is generally of better quality and offers some more freshness to the whole ("Festival"). This is another good track from this "Purple" album. It is followed by the worse and totally useless "Weaver's Market". But it is not the first time that the band offers some surprise like this one.

The album closes on a good note as well: the pastoral and tranquil "Depression" is expressing positive notes and is quite welcome. It won't prevent though the two stars rating (like each AB album so far).

"Amazing" Folk Pop

Finally I have been able to put my hands on this album, which has for a long time been the missing piece in my Amazing Blondel collection. I now own it as part of a 2010 two-on-one CD release together with the group's previous album, England (just as their Evensong and Fantasia Lindum albums were released together some years ago). While England, for me, was something of a disappointment, this gorgeous little album entitled simply 'Blondel' has very quickly become my favourite in the Amazing Blondel discography. With this album the acoustic Folk group took a step closer towards the Pop and Rock world. Though the trio was reduced to a duo for this album, they invited a handful of guests to provide various instruments. For the first time we hear bass guitar (played by Steve Winwood) and drums. But this tendency should not be exaggerated as this is by no means a full-fledged Rock album. This is still strongly acoustic and it is still very much a product in the distinctive Amazing Blondel style. The progressive aspects are definitely present, but subtle.

In some ways Blondel might be seen as a transitional album between the group's Folk phase and their later Pop phase. As such it is an interesting mix between the two styles and the tunes are very charming indeed. Prog Rock fans might perhaps question the relevance of Amazing Blondel here, but anyone with a taste for acoustic Folk Pop should not miss this lovely album.

This album is a very good place to start if you want to investigate Amazing Blondel. A solid three stars and a worthy addition. Recommended!

This is the first album recorded after the departure of writer Gladwin. Baird and Wincott decided to continue as a duo. Baird proved to be a valid writer too but the music was subjected to a significant change of direction.

While the sound remains predominantly acoustic, the sound is "updated" (acoustic instruments are less varied) and "modern" (thanks to drums and bass guitar played by Steve Winwood).

The fantastic opener "The Leaving of a Country Lover" starts with deep orchestral murmurings and then developes one of the most beautiful melodies I ever heard. The closer is even better, short, sad, aching, intense and romantic as never before.

In the middle a bunch of (folk) feathers and, above all, the most satisfying record from the band, in my opinion, although there is no high points as in "Fantasia Lindum" self titled suite.

'Blondel' is the 5th studio album released by Amazing Blondel and it is the first album that the group produced as a duo since the group's founder John David Gladwin left the group. It would also be the last of the band's albums that would be worth listening to as a whole because their style would veer from prog folk to a more pop sound afterwards. But at least they still had some folk in their music for this album.

Also, Steve Winwood would become a temporary member of the band on this album as he provides bass, and Simon Kirke from 'Free' would play drums. Paul Rodgers also from 'Free' and later 'Bad Company' would also sing some vocals on the track 'Weaver's Market'.

There was a slight difference on the track listings of the two different labels used to distribute the album, but the music remained the same. Island records left off the tracks 'Prelude' and 'Solo' from the track listing, but integrated those songs into 'The Leaving of the Country Lover' and 'Easy Come, Easy Go' respectively. Edsel Records listed the tracks correctly, as separate tracks. That's why there is some confusion over track listings.

'Prelude' works as exactly that, an opening, or prelude, to the album. It is a plesant, pastoral instrumental with slow sustained notes that provide an orchestral style introduction. This flows right into the track 'Leaving of the Country Lover' which fades in with acoustic guitar and vocals, with drums added later. Strings also join in later with some nice brass flair. As with all the music on this album, it is a nice, mellow folk melody that easily gets you in the mood for the album. The music is simple and quite accessible, with some nice flourish. Just after 3 minutes, the orchestral prelude theme returns bookending the track nicely.

'Young Man's Fancy' fades in with a more complex melody and immediate percussion, but still mellow and acoustic. The track has a more progressive aspect, but is still very accessible. Strings and a crumhorn joins in towards the middle, contributing to the pastoral feel of the album. The lilt of the rhythm increases just before a fade into another orchestral interlude. A sudden crash of cymbals and percussion brings in 'Easy Come, Easy Go', and a more airy and upbeat track that is somewhat more pop oriented starts. 'Solo' finishes off the suite-like feel of the first side of the album with an acoustic and pensive guitar solo.

'Sailing' starts with a jangly and cheerful pair of guitars and then vocals start. Again, we get a simple folk sound with a slight leaning towards pop, but not overly annoying. There is some slight string accompaniment, but the acoustic guitars hold the weight of the instrumental backdrop to this happy sounding tune. Percussion is kept light on this consisting mostly of a tambourine.

Now we begin the downward descent into schmaltzy sounding pop/folk ala John Denver that take up the next 3 tracks. First is 'Lesson One'. This one is just vocals and acoustic guitar. Then it's 'Festival' which is more upbeat 'gigue' style and has a chorus that sticks in your head for better or worse. At least you get some background vocals provided by Sue Glover and Sunny Leslie. Kind of silly, but kind of quaint too. It fades into a quiet piano interlude towards the end. Next follows 'Weavers' Market' which features Paul Rodgers on vocals. It does have the feel of a stripped down Bad Company track, but with some folkish dance flair. He trades lead vocals with one of the female background singers. Again, it's a bit charming and a bit corny at the same time.

'Depression' ends the album. It has a more folkish feel that was popular at the time. It's a nice slower melody backed up by acoustic guitar and flute and it breaks away from the corniness of the last 3 tracks. It's a nice, peaceful closer.

So, this is really the last good Amazing Blondel album that I really enjoy. Yeah, there is some poppiness that is starting to come into some of the tracks, but overall, it is a nice guilty pleasure to listen to when you want to hear something mellow with a happy undertone throughout. A few tracks are corny, like I said, but there is still a strange attraction to them at the same time. This was also apparent on their past albums, but it was after this that the band really got to the point that their music became embarrassing as they try to incorporate a more pop sound over the folk sound they had become famous for. This is the last of their albums I feel comfortable giving 4 stars to as a traditional style folk album.

Not as good as the previous year's England, still, a fine example of an artist who wishes to emulate the sounds and styles of old.

1. "The Leaving Of The Country Lover" (6:34) the first two minutes are made up of a beautiful Aaron Copeland-like intro called "Prelude" followed by the strings and crumhorn-supported folk song. (13/15)

2. "Young Man's Fancy" (5:20) has a little BEATLES and a little TRAFFIC feel and sound to it. The antique instruments only come in as ancillaries or at the end, but the strings are ubiquitous. Beautiful outro. (8.25/10)

3. "Easy Come, Easy Go" (6:09) nice rock folk guitar foundation with the BEATLES/WINGS-like vocals. Pretty song. Ends with a classical guitar solo (called "Solo" on some copies of the album).(8.75/10)

4. "Sailing" (4:30) John Denver. (7.25/10)

5. "Lesson One" (2:50) solo guitar with lone male vocalist. Nice song. (8/10)

6. "Festival" (3:27) the other male Dan Fogelberg-like vocalist takes the lead here. Lots of female b vox and strings. (7.75/10)

7. "Weavers Market" (4:35) opens with "Lucky Man"/"Stormcock" guitar strumming within which male pans in and alternates with kazoo. I like this vocal (Paul Rodgers) even though it's rather ad hoc and unpolished. Female takes lead in second with many sea-shanty drunk-on-the-dock voices behind and around. Actually a very cool song. (9/10)

8. "Depression" (3:25) nice gentle 12-string picking opens this one before flute joins in and then clear male voice. This is beautiful. And emotional. (9.75/10)

Total time 36:50

3.5 stars; a nice addition to the Prog Folk catalogue but nothing too exciting or ground-breaking.