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JOHN GREAVES

Canterbury Scene • United Kingdom


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John Greaves biography
John GREAVES played with the following groups : HENRY COW (1969-76), NATIONAL HEALTH (1978-80), SOFT HEAP (1979-88), PETER GORDON'S LOVE OF LIFE ORCHESTRA (1981), MICHAEL NYMAN BAND (1985), MICHAEL MANTLER BAND (1987,1996-97). In his solo records he combines influences of his different musical experiences into a mixture of Jazz, Jazz-Rock, R.I.O, Traditional Songwriting, Absurd Theatre, Chanson Française and more.

"The son of a Welsh dancehall bandleader, John GREAVES was born in 1950 in Prestatyn, a small village in the North of Wales, near the seaside resort of Rhyl, but grew up in Wrexham, the native town of his mother. Very soon, he was initiated to music by his father, who offered him a bass guitar for Christmas at age 12. Six months later, John was playing every night with his orchestra, and spent four years doing it. A year before he left to study litterature in Cambridge, his younger brother Michael, an aspirant drummer, also joined. By that time, Greaves had acquired the necessary skills, both as a musician and an arranger. The very varied mix of musical styles played by the orchestra, playing every night from 9 p.m. to 3 a.m., and the opportunity to open for pop groups like THE BIG THREE and GERY & THE PACEMAKERS proved an invaluable context for learning quickly!

Once in Cambridge, in 1967-68, GREAVES discovered politics, canoeing and... cricket! In 1969, he met the members of HENRY COW, which he joined. For two years, following which he received a Master of Arts from the university, he combined these different activies, before concentrating on his work with HENRY COW, recording and touring with the band until his departure in early 1976.

Having developed a strong collaboration with Peter BLEGVAD during the shortlived (but very creative) HENRY COW/SLAPP HAPPY amalgamation in 1974-75, GREAVES flew to New York with him to work on the "Kew Rhône" project with funding from Virgin. The pair spent three months putting words to GREAVES' compositions, then jumped on the offer of Carla BLEY and Michael MANTLER to record these in their Woodstock studio. Many musicians guested on the album, which was eventually credited to GREAVES, BLEGVAD and singer Lisa HERMAN.

Back in England, John GREAVES spent a year working for theatre, both as composer/arranger and actor (!). Then, in early 1978, he accepted an offer to join NATIONAL HEALTH, staying until the band's demise in the spring of 1980. Meanwhile, he'd also joined part-time jazz ...
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John Greaves, Peter Blegvad, Lisa Herman: Kew. Rhone (mini LP) [SHM-CD] (Japan) USD $51.19 Buy It Now 12h 6m
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JOHN GREAVES discography


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JOHN GREAVES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 42 ratings
Kew Rhone
1977
4.00 | 5 ratings
Accident
1982
3.67 | 3 ratings
Parrot Fashions
1984
4.00 | 1 ratings
La Petite Bouteille De Linge
1991
3.00 | 1 ratings
Greaves & Cunningham
1991
4.02 | 10 ratings
Songs
1995
0.00 | 0 ratings
On The Street Where You Live
2001
4.00 | 1 ratings
The Caretaker
2001
0.00 | 0 ratings
The Pig Part Project
2001
0.00 | 0 ratings
The Trouble With Happiness
2003
3.00 | 2 ratings
Chansons
2004
0.00 | 0 ratings
Tambien
2005
4.00 | 1 ratings
Greaves Verlaine
2008

JOHN GREAVES Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Loco Solo
2001
0.00 | 0 ratings
Piacenza
2015

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JOHN GREAVES Reviews


Showing last 10 reviews only
 Kew Rhone by GREAVES, JOHN album cover Studio Album, 1977
4.03 | 42 ratings

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Kew Rhone
John Greaves Canterbury Scene

Review by ALotOfBottle

5 stars In 1969, during his studies at Premboke College in Cambridge, John Greaves met members of a forward-looking outfit known as Henry Cow. The musicians, Fred Frith and Tim Hodgkinson, were looking for a bass player and persuaded Greaves to join them. In 1974, Henry Cow teamed up with a German avant-pop outfit Slapp Happy. Peter Blegvad, Slapp Happy's guitarist, and Greaves found working together extremely prolific and, in result, ended up writing some material, most notably a piece "Bad Alchemy", which appeared on Slapp Happy's album Desperate Straights. After leaving the band, Blegvad returned to his hometown, New York City, and made a living as an illustrator. John Greaves left Henry Cow in 1976, appearing on three of their studio releases. In 1977, they decided to join forces to work on Greaves' project Kew. Rhone. in New York City, with financial help from Virgin Records. Peter Blegvad was responsible for writing lyrics, while John Greaves wrote music. When the album was ready to record, the two were offered a studio by two jazz musicians, Michael Mantler and Carla Bley, who ended up playing on Kew. Rhone., alongside a vocalist Lisa Herman, a drummer Andrew Cyrille, and numerous other guests.

The music on Kew. Rhone. is at times quite similar to that of Henry Cow from the Unrest period. The affinity is really a testimony for how much of the band's sound Greaves is responsible for. His distinctive compositional style, first fully displayed on "Half Asleep Half Awake" from Unrest, is now dominant on the album. The work has a unique, dark, noir-like quality, supported by influences of urban hard-bop. Jazz elements are also reflected in instrumentation, through the extensive use of Miles Davis-inspired the trumpet and rhythmic grand piano. And yet, Greaves and Blegvad manage to capture somewhat of a European spirit in their music. Flavors of avant-garde opera, in particular that of the Second Viennese School, composers such as Schoenberg and Berg, are also a considerable part of the musical extract. Small, inexplicable ingredients of so-called Canterbury sound are also present, highly likely solving the problem of classification of the album. Peter Blegvad's twisted, sophisticated, ambiguous, and most of all, highly experimental lyrics, dripping with of oxymorons, anagrams, palindromes, demand a great amount of erudition to be fully comprehended. There appears to be an invisible link between all of the songs lyrically, creating a feel of a concept album. Obviously, one is rather unlikely to notice the exceptionality of the words without actually reading them individually. However, "Is Kew. Rhone. an album to be "solved"? asks Marcus O'Dair, a journalist of a British music magazine. "It invites interpretation even as it resists it," was Blegvad's answer. "When considering the meanings of Kew. Rhone. we can only guess, we can't know ? which will put some people off. People who want definitive answers are unlikely to get whatever there is to be got from the Kew. Rhone. experience. Personally, I feel more at home with doubt than I do with certainty. What Keats called Negative Capability." Without a shade of doubt, the interplay of intricate and advanced music and elaborate and knowledgeable lyrics creates a one-of-a-kind blend - Kew. Rhone.

To ensure his musical vision is executed in the best possible manner, John Greaves invited some of the finest musicians he knew to play on the album. Himself, Greaves handles all the keyboard instruments (except for clave played by Boris Kinberg) as well as bass guitar. Peter Blegvad is responsible for guitar parts, which play an important role in the album's sound. Blegvad, Greaves, and Lisa Herman together, create a beautiful texture of three varied harmony vocals, which are probably the most characteristic element of Kew. Rhone. In addition, they get some help from the voices of Dana Johnson, April Lang, Michael Levine, and Carla Bley. The album is rich in wind instruments, which include a trumpet and trombone played by Mike Mantler, an alto saxophone and flute played by Vito Rendace, and tenor saxophones played by Rendace, Carla Bley, and Blegvad. Throughout the album, trumpet gets the most solo parts, followed by tenor saxophones. Andrew Cyrille on drums, finds himself perfectly comfortable playing complex time signatures. A classically-trained string sound is delivered by Michael Levine, who plays violin and viola, giving a slight chamber-like taste. In short: the musicianship on this release is excellent.

The album comprises eleven tracks. It opens with "Good Evening", a half-a-minute intro, which despite its short duration, successfully sets the mood for the rest of the work. "Twenty-Two Proverbs" has a bit of an unsettling sound reflected by its dissonant nature and an odd time signature, with great, varied harmony vocals. "Seven Scenes from the Painting 'Exhuming the First American Mastodon' by C.W. Peale" alludes to the album art, which portrays Peale's scientific project. The title track, "Kew. Rhone." features a motif that I'm sure I have heard on Henry Cow's debut album, LegEnd. The short theme used in this lighter piece often appears on Cow's early recordings. "Pipeline" was once described as "a phenomenological bossa nova in 7/4". And this description perfectly captures the spirit on the track. "Catalogue of Fifteen Objects and Their Titles" closes side one of the LP with well-rehearsed saxophone virtuosity and memorable harmony vocals. Side two opens with a somewhat heavy sound of " One Footnote (to Kew. Rhone.)", which features a strong syncopated rhythm with great interaction of horn instruments and, later, the band members' voices. "Three Tenses Onanism" is a much lighter piece with John Greaves' grand piano play and strange, sinister noises from Peter Blegvad's guitar. "Apricot" is built around a catchy, jazz-influenced theme with a trumpet solo and sophisticated vocals. The album closes with "Gegenstand", which starts with a melody-less, improvised passage with atonal, Fred Frith-like guitar sounds. Towards the end, one will hear a bit of silent vocal melody supported by gentle bass and organ, as if struggling to break through, but not for long, as the piece slowly descends into complete silence.

John Greaves and Peter Blegvad are responsible for one of the most detailed, difficult, multifaceted, complicated, and thought-provoking albums in the history of progressive music with very listen revealing new aspects and qualities. Kew. Rhone. demands a lot more than just many listens to be fully appreciated, it demands a careful and experienced listener. Canterbury sound had never been as complex and sophisticated before Kew. Rhone. Close to sheer perfection in almost every way, in short: a masterpiece.

 Kew Rhone by GREAVES, JOHN album cover Studio Album, 1977
4.03 | 42 ratings

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Kew Rhone
John Greaves Canterbury Scene

Review by Dobermensch
Prog Reviewer

2 stars I always look forward to hearing 'Kew Rhone' and am continually underwhelmed by the time I'm half way though it. With a line up of eleven clearly talented musicians you'd think you'd be in for something special. Such a pity then that they seem to continually overlap and intrude each other in the most annoying of manners. They create a messy, sprawling sound that is at once academic, clearly being a scored soundtrack, but it is difficult to listen to. It brings very little enjoyment to my decades old poor bludgeoned ears.

Apparently this album is full of anagrams and palindromes. I've certainly not heard any. Maybe it's because my mind keeps wandering to more important things like: 'what time do I have to get up for work tomorrow'. I try so hard to like this but always find it ultimately boring and directionless. 'Allmusic' calls this a masterpiece of 70's electronic rock. God knows why. I must have listened to this around 15 times and all I can think on is of a wizard throwing a bag full of musical notes down a flight of stairs.

Lisa Herman's vocals irritate throughout the duration with her tuneless leaping from one octave to another. I can't make head nor tail of her intentions. I can't even say she has a good set of vocals. They're all too random and willy-nilly, almost an afterthought as if she's just heard the backing track for the first time and has decided to give it a go despite the consequences.

It's all too clever for its own good. Listening to 'Kew Rhone' is like tying to decipher an algebra equation. No fun at all in other words. The separation of isotopes by gaseous diffusion is easier to understand than this.

I will admit though - it does have a great sleeve by Charles Peale called 'Exhuming the First American Mastodon'. That's as high praise as you'll get from me I'm afraid.

 Kew Rhone by GREAVES, JOHN album cover Studio Album, 1977
4.03 | 42 ratings

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Kew Rhone
John Greaves Canterbury Scene

Review by Warthur
Prog Reviewer

4 stars John Greaves and Peter Blegvad enjoyed working with each other on the Henry Cow/Slapp Happy albums Desperate Straights and In Praise of Learning so much that they got back together (and brought Lisa Herman into the fold) to produce this eccentric avant-Canterbury piece. Presenting a jazzy Canterbury sound that borders on Henry Cow's later chamber-rock explorations, the album also features Blegvad and Herman indulging in wild, fanciful wordplay with the lyrics.

Apparently, some people have blamed the album's commercial failure on it coming out on the same day as the Sex Pistols' debut album, but I think that buys into the punk-vs-prog myth a little too much. The fact is that the Canterbury scene was always a bit less high profile than the likes of Genesis, Yes, Pink Floyd or ELP, so the idea that an avant-garde side project from two members of underground Canterbury/RIO bands with lyrics so complex the album art provided diagrams to aid in their interpretation might have become a serious commercial hit is rather far-fetched.

Simply put, this is Canterbury at its most complex, obscure, and inaccessible. Of course, if you're a prog fan then that's a plus - but for my part, whilst I do consider it a worthwhile accomplishment at the same time I think the album is a bit too much in love with its own cleverness to show much interest in communicating its ideas effectively and engagingly with the listener, and so doesn't quite attain the fifth star for me.

 Kew Rhone by GREAVES, JOHN album cover Studio Album, 1977
4.03 | 42 ratings

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Kew Rhone
John Greaves Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars I would probably think a lot higher of this if Robert Wyatt was singing. The focus here is definitely on the vocals and concept of this album. I've never been a fan of concept albums for that reason. Give me great music that's all I ask for. Peter Blegvad wrote the lyrics while John Greaves composed the music. The music is mostly laid back with horns and piano often standing out,but like I said the focus is on the singing (male and female). I acknowledge that the lyrics here border on brilliant, and I can appreciate why many consider this a masterpiece. I do prefer Greaves' "Songs" album more.

"Good Evening" is sort of a lazy sounding tune with horns to get us warmed up. "Twenty-Two Proverbs" is more urgent sounding as male then female vocals come in. Horns before 2 minutes. Vocals are back after 3 minutes. "Seven Scenes From The Painting" opens with piano as reserved female vocals come in. It sounds sort of loungey if you know what I mean 1 1/2 minutes in. It turns serious as these contrasts continue. "Kew Rhone" is piano and female vocal led early. Male vocals, horns and some violin follow.

"Pipeline" is again led by female vocals and piano. Bass, drums and horns help out. Lots of horns late. "Catalogue Of Fifteen Objects & Their Titles" features reserved female vocals and piano. It picks up as other sounds join in. Male vocals around 2 minutes. "One Footnote (To Kew Rhone)" is mostly horns and drums as vocals come in late. "Three Tenses Onanism" opens with piano. Male vocals before 2 minutes. It's dissonant followed by a calm before almost spoken vocals end it. "Nine Mineral Emblams" opens with female vocals. The tempo picks up. I'm not into this one at all. The horns are good though before 4 1/2 minutes. "Apricot" is better with male vocals. The horns after 2 minutes sound great. "Gegenstand" puts the focus on the almost spoken female vocals.

I much prefer Robert Wyatt's solo work which is of a similar style but this has grown on me to the point where I can give it a low 4 stars.

 Songs by GREAVES, JOHN album cover Studio Album, 1995
4.02 | 10 ratings

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Songs
John Greaves Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars John Greaves is probably most well known for his being part of HENRY COW, although he did play with NATIONAL HEALTH as well. This album evolved out of an idea he had to have a trained soprano sing a couple of his songs, namely "Swelling Valley" and "The Price We Pay". S'Ange turned out to be the perfect choice with her lovely soprano voice. So they did a demo of three tracks and then over the next couple of years the project developed and expanded until he wound up with 48 songs. John also wanted to record existing material with different voices. So this really is a combination of new and old (re-recorded) tracks. Greaves' first choice for a vocalist was Robert Wyatt who he knew already was a big fan of the song "Kew. Rhone." so he got Robert to sing that as well as "Gegenstand" and "Songs" which John says "might as well have been written for him". A marriage made in heaven if there ever was one. Greaves also thought Wyatt's vocals would contrast and compliment S'Ange's angelic voice rather well. He also got Kristoffer Blegvad to sing "Silence" which he had done for years in the eighties with John's band. John said he always enjoyed listening to Kristoffer sing that one. Greaves felt he needed another female voice and Caroline Loeb happened in one day and agreed to do it so John wrote 2 tracks for her to sing "Eccentric Waters" and "L'aise Aux Ex-Sans Trique". John himself sings The Green Fuse" which is my favourite. It's actually a Dylan Thomas poem that John was reading one day, and he said the music just leaped off the page, so he had to record it. Peter Blegvad wrote 5 of the tracks and I have to mention that Elton Dean guests playing sax. This really is a mature and special album that is just a pleasure to listen to.

"Old Kinderhook" is simply a short accordion led instrumental. "The Song" is a beautiful laid back song sung by Wyatt as bass, piano and acoutic guitar support. Kind of melancholic too. "Swelling Valley" gives us our first taste of S'Ange and her angelic voice. Another pastoral tune with Kristoffer adding backing vocals. Just gorgeous as piano and acoustic guitar help out. "The Green Fuse" features strummed guitar and piano with John's vocals. Why is this so emotional ? My favourite. "Kew. Rhone." is where Wyatt returns vocally. Piano, acoustic guitar and vibes early before we get a fuller sound after 1 1/2 minutes. "Eccentric Waters" opens with what sounds like a party with different people talking as accordion plays.Then Caroline comes in vocally as party sounds fade away.

"Silence" is my second favourite. Piano opens as Kristoffer comes in vocally. Another moving track. Acoustic guitar joins in followed by bass. Sax before 3 minutes then it turns dissonant. "The Price We Pay" features S'Ange again with Kristoffer backing up. Great combination. Piano and acoustic guitar help out. "L'aise Aux Ex-Sans Trique" has some enrgy and both Caroline and John singing. Good song with piano and accordion standing out. "Back Where We Began" is a top three track for me. Simply heart rending. S'Ange's vocals with piano are so tender and touching it's difficult to express. "Gegenstand" is experimental to open then Wyatt comes in along with percussion and acoustic guitar. Experimental sounds return as the contrasts continue. "Whatever That Is" is the humerous conclusion to the record. It opens with atmosphere that you can feel. Acoustic guitar and piano come in then sax. The humour comes from the angry rant that follows. Haha, so funny.

A special album that I treasure.

 Greaves Verlaine by GREAVES, JOHN album cover Studio Album, 2008
4.00 | 1 ratings

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Greaves Verlaine
John Greaves Canterbury Scene

Review by Alucard
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars The Green Fairy

Since his first records with Henry Cow John Greaves, has never stopped composing music, recording and giving concerts. He considers every new project as a challenge for himself and the audience. John Greaves lives now for quite a long time in France and his last record "Chansons", was built entirely around French lyrics, but was sung by Elise Caron. In concerts John sung sometimes a song of famous French chansonnier George Brassens himself, but Greave/Verlaine is the first record where John sings all tracks in French. The poems of French poet Paul Verlaine had already been set to music, the most famous being the Claude Debussy's melodies and in the 60's the record of Leo Ferré who recorded a double LP with poems by Verlaine & Rimbaud. Not an easy task to attack these "famous" poems.

The First contact with the record is the beautiful cover, a silver absinth spoon on red ground, a homage to the famous 19th century alcohol that was forbidden for his devastating effects, but inspired a lot of artists and was nicknamed the "Green Fairy", a whole program in itself.

The overall atmosphere of the eleven songs is heavy and down to earth, with John's deep voice, the distorted guitar of Jef Morin and the swampy drum sound on one side and on the other hand of the sound-spectre the beautiful soprano voice of Jeanne Added, the violins of Arthur Simonini and Dominique Pifarelly and Karen Mantler's harmonica. Somewhere in the middle range Scott Taylor's accordion and some eerie musical saw and Theremin playing by Fay Lovsky.

The moods range from the melancholic "la lune blanche" et "chanson d'automne" to the bal musette like "Streets" and "Beams" featuring Scott Taylor on accordion.. The absolute highlight of the record for me is "Le piano que baise une main frêle", one of these songs that give you the shivers every time you hear it with Jeanne Added and John singing together, John's heavy French pronunciation in opposition with Jeanne's delicate soprano. Awesome!!! This track on his own, in the line of "The Green Fuse"and "Kew Rhone", is already a classic John Greaves song. Two other outstanding songs "Chanson d'automne" with his melancholic atmosphere of falling leaves, one of Verlaine's most famous poems and "Triolet a une vertu" featuring again Jeanne Added and John on distorted vocals in a answer/question game.

The whole record is flawless and all tracks segue nicely one into the other, alternating slow and up- tempo atmospheres, unveiling with every listen another hidden aspect of the beautiful arrangements : already a classic record.

 Chansons  by GREAVES, JOHN album cover Studio Album, 2004
3.00 | 2 ratings

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Chansons
John Greaves Canterbury Scene

Review by Syzygy
Special Collaborator Honorary Collaborator

3 stars This is a remarkable album which really exists in a class of its own. 'Chanson' is a French genre in which the lyrics are more like poetry set to music - think Jacques Brel or Serge Gainsbourg - and there are singers known as chansonniers who interpret these, Edith Piaf being perhaps the best known outside France. This is John Greaves' vision of chanson, and it's a little gem, although fans of his RIO/Canterbury work may find it a little surprising.

Greaves wrote all the music and the words were written by one Christophe Glockner. My French is good enough to understand that the lyrics are extremely clever, but sadly nowhere near good enough to appreciate all their subtleties and nuances. The musical backing is quite minimal; Greaves plays piano and acoustic bass guitar, David Ventucci double chromatic accordion and Louis Sclavis plays clarinet and soprano sax here and there. Elise Caron is the chansonnier who brings the songs to life, and saving a couple of guest appearances that's it. This is very much in keeping with Greaves' recent albums, which have tended to be largely acoustic, although the style is very French and shows only traces of his RIO/Canterbury roots. Of especial interest is the guest appearance by Robert Wyatt on Melange, to which he contributes featherlight percussion and his distinctive voice, and this is where the album edges closest to any kind of rock connection. The arrangements are superb and the limited instumental voices are juggled adeptly to create a range of moods and atmospheres, and anybody who professes distaste for the accordion may be won over by Ventucci's incredible technique.

In its highly specialised field this is a minor masterpiece, but given the review criteria on this site I think good but non essential sums it up. Fans of Slapp Happy or the Greaves/Blegvad masterpiece Kew.Rhone will find plenty to enjoy here, especially French speakers, as will afficiandos of the eccentric French outfit ZNR. Newcomers to John Greaves would be better starting with Songs or La Petite Bouteille De Linge. Cautiously recommended.

 Kew Rhone by GREAVES, JOHN album cover Studio Album, 1977
4.03 | 42 ratings

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Kew Rhone
John Greaves Canterbury Scene

Review by takas20

5 stars A thing no-one ever mentions is that the instrumentation on the album is the closest anyone ever has gotten to the magical arrangements on Unrest, which is a prog masterpiece. The piano, organ, bass, guitar parts (on for instance Kew Rhone itself or Apricot) are pure Cow (if such is an expression)
 Accident  by GREAVES, JOHN album cover Studio Album, 1982
4.00 | 5 ratings

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Accident
John Greaves Canterbury Scene

Review by Tom Ozric
Prog Reviewer

4 stars Who would've thought that John Greaves' R.I.O approach could survive in the 80's ?? Well it did, and quite effectively, too. What we have here is a number of tunes, some of them quite catchy, all penned by Greaves and his dear friend Peter Blegvad, with a kind of 'New Wave' bent to them and full of clever experimentation, not unlike Hammill's albums from the same period. The Late Great Pip Pyle seems to man mostly the Simmons electric drum-kit, whilst ex-Weidorje drummer Kirt Rust handles the acoustic drums on several tracks, and various other big name musicians appear sporadically throughout ; Pascale Son (pretty female vocals) ex- Cos, Yochk'o Seffer on Sax (ex- Zao), Geoffrey Richardson, pizzicato Viola (ex- nearly everything else...) etc. Some interesting and amusing lyrics with unusual subject matter, kind of abstract and unclear at times. The low point of the album is 'Sad Emission' with it's DX7 'bells' patch and corny lyrics, complete with a very catchy melody and chorus, but a very weak song. Among the better tracks, some of which are very strange - Photography, Milk and Wax all display a strong R.I.O style with the then modern sound and the title track is a killer !! No extravagant Bass playing here, though. The track 'The Rose Sob' is weird, and has been performed by National Health live in 1979. Hopefully this review gets at least someone curious about this obscure release, I'm certainly not disappointed - closer to 4 stars than a three.
 La Petite Bouteille De Linge  by GREAVES, JOHN album cover Studio Album, 1991
4.00 | 1 ratings

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La Petite Bouteille De Linge
John Greaves Canterbury Scene

Review by Alucard
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars 'La Petite Bouteille De Linge' was recorded in Paris and released in 1990. The record presents a mixture of compositions that unit songwriting and sophisticated instrumental passages with influences ranging from contemporary classics, Kajun Folk Music, Straight Forward Rock, Jazz and a touch of Monthy Python.

'Solitary' the opener with lyrics by Peter Blegvad ("that whole great majestically startling mentally epic burning model of heaven") a Kurt Weill inspired song featuring Weill-Fashion Piano, distorted guitar and bass clarinet, reminding 'Henry Cow', followed by 'The World Tonight' a more traditional song.

'Deck Of The Moon' an uptempo track, sounding like 'XTC' and featuring F.Ovide on guitar and a nice piano solo by Sophia Domancich.

'Old Antiquity' a 'Kajun' Folk music inspired track with a soprano sax intro,featuring harmonica, guitar, violin, banjo and a great vocal arrangement.

' Rose C'Est La Vie' a beautiful French sung ballad with a string section (overdubbed violin?) and John on piano.

'Almost Perfect Lovers' a Jazzy track featuring piano, the late Jean-François Jenny Clark on double bass, tenor sax and including a longer instrumental improvisation.

'Le Garçon Vert' the scond song with Peter Blegvad lyrics, is arranged for Brass band, starting with a 'Peter Gunn' inspired theme with Italo Western style vocals by John, alternating Free Jazz passages with Canterbury and a Monthy Python touch, my favourite track on the record.

'Let Her Go' a beautiful ballad with a jazzy groove featuring acoustic guitar, a tenor sax and a piano solo.

'Dedans' is a reprise of trck 5 'Rose C'Est La Vie' with a Kajun feeling featuring accodeon, tuba, banjo, harmonica and reminding 'The Band'.

''La Petite Bouteille De Linge" is a great record of John Greaves, who mixes influences of Canterbury, Kajun Music , Kurt Weill, Monthy Python into a very personal record.

Thanks to alucard for the artist addition. and to The Bearded Bard for the last updates

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