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FUCHSIA

Prog Folk • United Kingdom


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Fuchsia biography
Not to be confused with the flower (fuschia), this group took its name from Mervyn Peake's book Titus Groan (just like the proto-prog group of the same name, Steerpike and Gormenghast) and was the project of Tony Durant. Having dabbled in the music business since 66 (he started with Henry Cow's Chris Cutler in a band called Louise), but leaving it for a University spell, he started writing again eventually forming a trio with drummer Gregory and bassist Day. But Durant was interested in using and integrating string instrument in another fashion than using them as a string section for embellishment, so they joined forces with a truio of classical music student babes (what a coincidence, them being a trio too ;-). The project was contemporary of the start of ELO and Jan Dukes De Grey. The music developed then very charmingly as a folkish trio with extended strings arrangements integrated fully in their music.

The album was well received by the critics but insufficiently promoted, sank without a trace and the group did not manage to tour the university circuit to promote it either. The group disbanded a little later that year, but Durant revived it for further sessions in 75. The albums with all of those side-sessions got a release in 05. This historical album got a re-issue in the Cd format in 01




Why this artist must be listed in www.progarchives.com :
essential unearthed prog folk gem.



Discography:
Fuchsia - 1971
Sessions - 2005

Fuchsia official website

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FuchsiaFuchsia
2004
Audio CD$39.99
$28.98 (used)
Mahogany & Other GemsMahogany & Other Gems
Import
Night Wings 2009
Audio CD$39.99
$17.95 (used)
II - From Psychedelia...To A Distant PlaceII - From Psychedelia...To A Distant Place
Import
Sound Practices
Audio CD$24.99
Fuchsia, Mahogany & Other GemsFuchsia, Mahogany & Other Gems
Import
Media Arte Kr
Audio CD$21.99
I Lar an Aonaigh by Fuchsia [Music CD]I Lar an Aonaigh by Fuchsia [Music CD]
CD Baby
Audio CD$40.80
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I Lar An Aonaigh - Fuchsia Band (2009, CD New) USD $20.37 Buy It Now 6 days
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FUCHSIA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

3.51 | 38 ratings
Fuchsia
1971
3.96 | 8 ratings
Fuchsia, Mahagonny & Other Gems
2005
4.00 | 4 ratings
Fuchsia II: From Psychedelia...To a Distant Place
2013

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

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FUCHSIA Reviews


Showing last 10 reviews only
 Fuchsia by FUCHSIA album cover Studio Album, 1971
3.51 | 38 ratings

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Fuchsia
Fuchsia Prog Folk

Review by apps79
Special Collaborator Neo Prog Team

2 stars Named after the fictional character of Fuchsia Groan from the Titus Groan novel this short-lived British band was found by guitarist/singer Tony Durant in early-70's, while he was a student at Exeter University, along with bassist Michael Day and drummer Michael Gregory.Attracted by the use of string instruments, Durant recruited a three-piece female string section for the first Fuchsia release, Janet Rogers, Madeleine Bland and Vanessa Hall-Smith.The self-titled debut was recorded at the Sound Techniques Studios in Chelsea, London and released in summer 1971 by Pegasus.The same album was released a year later in France by Kingdom label.

Durant was not keen of complex arrangements or trully adventurous concepts, his aim as admitted was to build popular music orientations around string sections in an orchestral mood and the final result is very close to his likings, like THE BEATLES jamming with ELECTRIC LIGHT ORCHESTRA with a touch of early RENAISSANCE.The overall atmosphere with the major use of simple-tuned acoustic guitars and female choir parts kind of remind of CARMEN on their less Andaluz-influenced side.But Fuchsia's music is also dominated by instrumental string arrangements in a Classical Music path, supported by a smooth rhythm section and the acoustic guitars of Durant along with his decent vocals.The album would have been trully original back in 1971, but I am not sure it has stood well against the sands of time.It sounds quite dated, easy-listening and far from the true aspects of progressive music, although there is a certain charm coming out of all these grandiose string parts dominating the album.The tracks sound very similar to each other with the same elements heard time after time without a wind of change throughout.

The band did a few concerts back in the days but lack of promotion and a promised but never fullfilled tour by their manager led to the demise of Fuchsia, shortly after their debut was released.

For fans of E.L.O., British Folk Rock or Orchestral Psych/Prog, Fuchsia has a decent value among their collection's item.For the rest be warned that this is a quite accesible release, closer to British Psych than the emerging prog movement...2.5 stars.

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 Fuchsia by FUCHSIA album cover Studio Album, 1971
3.51 | 38 ratings

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Fuchsia
Fuchsia Prog Folk

Review by Marty McFly
Special Collaborator Errors and Omissions Team

4 stars Dark, but optimistic atmosphere of these songs surrounds this record wholy. The kind of folk I love, enhanced by something more, providing much needed free mood, air of choice and good will. It is a story about accomplished dream, how just another color inspired (Magenta, Cyan, Fuchsia, Orange, endless Blue groups, Red ones, Black metal types etc, Yellow fevers, whatever). There are orchestral (like, private orchestra consisting of violin) arrangements, but the problem is that they're quite muted, as other instruments are more prominent (guitar). Vocals are fine, sounds quite new (reminding me vocalist of Art Brut group, which as fact is strange). Backing vocals aren't that pleasant, but they're sparse. For folk group of this time (no psychedelic influences to be heard here), compositions are quite long and gives a lot of space to develop the song, to the good of this album as whole.

I also like this lazy English feeling I have from this album.

4(+), nice prog folk, full of usual stuff and something more, but together working extremely good. And again, clear bass lines to be heard here. I think that when you want to hear bass, just listen some prog folk songs and you're done.

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 Fuchsia by FUCHSIA album cover Studio Album, 1971
3.51 | 38 ratings

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Fuchsia
Fuchsia Prog Folk

Review by Jeff Carney

3 stars The male vocals leave a bit to be desired, but this one has some solid moves. Very much electric folk in spots with slamming drums and syncopations.

Good album but be warned that the officially released CD on Night Wing is one of the most poorly remastered progfolk CDs you will ever encounter. It's mastered like a modern heavy metal record with loads of compression, and the EQing is nearly insufferable. I believe that the tapes are probably lost for this album but just running a clean copy of the LP would have done this album much more justice.

There are two bootlegs on the market that actually sound better (one in jewelcase and one in mini lp that are the same mastering), but they are just taken from vinyl and are drenched in digital noise reduction instead of being properly declicked and treated with care. Hence, they also sound like garbage, but amazingly, the official release manages to sound even worse. When I first put it in I was shocked. I wonder if the people who worked on it have lost all hearing above 4k or something? The drag of this is that the original vinyl goes for big $$, and one is left with little choice but to support the artist and rarely listen to this because of digital earbleed. ;-(

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 Fuchsia by FUCHSIA album cover Studio Album, 1971
3.51 | 38 ratings

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Fuchsia
Fuchsia Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars Fuchsia only produced this one album, exploring the netherlands between folk, psych, prog and light classical. I enjoy the distinctly English flavour that saturates the disk, and the groundedness of the tunes and lyrics that favourably distinguishes this band from many of that era. I mean, a song called "Me and my Kite" about actually flying a kite..it doesn't get better than that if you want a slice of English whimsy without the smarminess of a Caravan or Stackridge.

The opener gets the listener involved at the outset with slam-dunked acoustic guitars, fascinating rhythms and the in-house strings section contributing to the general quirkiness. In addition, while Tony Durant dominates in the vocal department, Janet Rogets is allowed to contribute ethereal soli and wordless "ahs" to further the appeal of the song.

Everything here fits together quite well, with "The Nothing Song" being another particular highlight. My only real criticism of the album in general is that, in the end, there really isn't a classic track or a high impact piece, just a lot of nice at times interchangeable tunes that I might find myself humming, sometimes a little too often! But I am glad for the tiny legacy of this interesting and quirky yet easy listenin' band.

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 Fuchsia by FUCHSIA album cover Studio Album, 1971
3.51 | 38 ratings

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Fuchsia
Fuchsia Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

4 stars I recently took a trip where I had a seven hour drive. Knowing I would need something interesting and novel to keep me alert, I picked up this reissue of some ancient prog/folk band I had never heard of, along with a couple of South American symphonic CDs to listen to along the way.

One of the other CDs was Crack’s album, which I enjoyed immensely. The other one never got played. I actually listened to this thing about five times in a row on the way to my meeting, and at least three more times on the way back. What a completely enjoyable album!

I have no idea what this band should be classified as. The first track starts off as sort of symphonic, but the strings are almost Baroque at times and lady singing ranges from near operatic to gothic. The acoustic guitar work is exquisite although quite simple, and Tony Durant’s singing reminds me a great deal of a number of early seventies British folk singers. Each track is elegant but not pompous, full of sounds but not haphazard. I have to believe these guys were mostly classically trained based on their precision and formal arrangements, but the feel of the album is one of young, creative artists of the very early seventies or even late sixties, which of course is exactly what they were.

The castanets on “Gone with the Mouse” contrast interestingly with the shrill cello and tinny harmonium. You don’t here those two instruments together, and the castanets make a trio that’s probably unique to this band. The violin passage that comes in at the end is achingly familiar, but perhaps that’s just a result of having heard this song so many times in the past few weeks. This is exactly what I always thought symphonic progressive music was supposed to sound like, although the rest of the album is much closer to a folk sound.

The acoustic guitar that opens “A Tiny Book” quickly gives way to a driving guitar/ tambourine/cello rhythm that is totally seductive, accompanied by harmonic backing (a couple of ladies with a guy who pipes in occasionally) and Durant’s vocals now sounding a bit like very early Moody Blues. A couple of tempo shifts give this one a bit a character, and the almost martial slow ending makes for an elegant closing.

“Another Nail” has a dissonant string opening that could have come from a Silver Mt Zion album just as easily, and this also gives way to a driving rhythm, this time acoustic guitars and a lively bass (perhaps upright, I actually can’t tell). The strings throughout this composition are lush and beautiful, not at all like the strident opening. Durant’s voice by now is almost driving me mad for its vague familiarity to someone else I can’t quite place. This is a ‘hug the sunshine’ kid of folksy number that also features some pleasing harmonium, and finishes with a catchy guitar riff that slowly fades to the same string discord that opened the song. Very well done.

The acoustic guitar continues on “Shoes and Ships”, and in fact this one sounds a lot like “A Tiny Book” but without the persistent guitars in the middle. The violins and cello are featured prominently with Durant’s simple vocals for a casual, almost ballad-like number.

The “Nothing Song” is announced as just that by the vocalist straight away amidst a formal string arrangement that reminds me a lot of very early ELO. This is the longest song on the album, but frankly there’s quite a bit of wandering around on guitar and meandering vocals that could have been firmed up a bit. But this was recorded in 1971, and things just didn’t move as quickly then, so one shouldn’t ask something to be what it is not, I suppose.

“Me and My Kite” could have easily been a Moodys song, a completely unaffected and simple ditty about a guy and his kite just meandering through the day without a care. I guess that thing I said about things moving a bit slower in 1971 was dead-on after all.

Finally comes “Just Another”, a pulsating guitar number with philosophical lyrics about the tranquility of personal observations of one’s surroundings despite the discord happening all around. Or something like that, not really sure to be honest, that’s my impression though. This one has more great acoustic guitar, but it a bit more aggressive than the rest of the album, and also includes some almost angry piano behind the thudding bass. Another fadeout ending, and I already want to play it again.

I don’t know what happened to these guys, but I hope they found other ways to express themselves throughout the rest of their lives. I suppose they could still be around, or at least some of them could be, although they’d be pretty old now. Too bad they didn’t put out more of this kind of music though. It’s really engaging, and makes for a nice drive through the countryside on a warm fall day. Highly recommended. Four stars.

peace

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 Fuchsia, Mahagonny & Other Gems by FUCHSIA album cover Studio Album, 2005
3.96 | 8 ratings

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Fuchsia, Mahagonny & Other Gems
Fuchsia Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

4 stars This archives disc is of a high interest if you enjoyed the sole Fuchsia album, and the only thing I can be negative about is that the sessions that are really related to their debut could have been added as bonus material on that eponymous album. But record labels are always out to make an easy buck, and in this case, one can doubt if they will because of the confidential nature of the group featured.

The first three tracks are demos that were recorded for their second album (they were looking for another label), and if the sound quality is acceptable for an archives album, they certainly have a finished songwriting feel and are closely related to the debut album, with the same line-up for the first two of them, the third being a pre-debut acetate. All three tracks still have that upfront string section reminiscent of pre-classical music and the very early ELO feel. Even if the Ragtime Brahms might indicate a much later period, we are talking of folk in the popular tradition here. But unfortunately Fuchsia was not able to record again and folded.

The group saw a second incarnation in 75 under the name Mahagonny, but in a fairly different line-up (only leader Durant and drummer Gregory are left) and slightly different instrumentation (added a keyboard), but spiritually this session was very close to the Fuchsia realm. Those five tracks make-up a small opera or conceptual suite based on the Rise And Fall Of The City Of Mahagonny (a bit in the style of an updated PF Sorrow from Pretty Things) and the suite is rather a happy and funny affair even if the events in the storyline are not always so. Again the spirit is very folkish and sounds between Eleanor Rigby, early-ELO and somehow a bit like Queen also. Clearly this is Fuchsia's best works here. These tracks actually did not get an issue either and remained dormant for over 30 years, until this release, but if it was a shame that it took so long, I can guarantee you that the wait was worth it.

The next two tracks are pre-debut album, back in the college/uni days, where Durant was mostly playing with his buddy Robert Chudley (they were also playing with future Henry Cow's Chris Cutler at the time) and although not recorded under or attributed to the Fuchsia banner, these two tracks (with the original trio of Durant, Day and Gregory is present) are also very worthy, even if the late-60's feeling is present on these two) but they are also strongly related to the group. Mary Used To.. is a hilarious piece. One last track closes this archive album on a minor note and is not indispensable. As I said above, those last three tracks were expandable and I would've rather have the first 8 tracks as bonus on the official album reissue.

With the booklet giving us a fairly complete overview of the Fuchsia story (and updates us on their later musical adventures), a few pictures and the lyrics, this release is almost (if not more) as essential as the only official album. As I have written in the other review, this obscure group deserved much better back then and even today. Hopefully progheads will one day discover this progressive folk rock group that only sites like ours can feature properly.

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 Fuchsia by FUCHSIA album cover Studio Album, 1971
3.51 | 38 ratings

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Fuchsia
Fuchsia Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

4 stars While I would not call this double trio group as revolutionary as KC's incarnation during the 90's, this group is made of the basic guitar trio and another trio of classical musicians interacting fully. The resulting music is not only charming but also quite interesting for progheads.

In 71, there were plenty of musical possibilities yet unexplored and Tony Durant thought about integrating the strings developing soothing rather between ELO's first three album and JDDG's superb, haunting spine-chilling Sun Symphonia. Rather closer to ELO's sweeter sounds (circa Eldorado) than JDDG's crazed sounds, the album is a pure pleasure for progheads enjoying string works that is precisely between ELO's first three album and JDDG's superb, haunting spine-chilling Sun Symphonia, the album is a pure pleasure for progheads enjoying string works. Although you can sense the inexperience of the group (only Durant had actually recorded before) and therefore an underlying naiveté, the album operates full-charms out on the unsuspecting proghead, even though the album's inventiveness might not appear at first listen.

Although you will probably their music very symphonic, the real feel pervading is a rather soft folk rock with intricate (almost medieval) string arrangements. From the opening Gone With The Mouse (in JDDG's loft? ;-) and its marvellous naďve pastoral feel, to the fabulous mini-epic A Tiny Book with its exuberant feel reminding the better ELO days, where the wise-at-first strings dare go in adventurous demoniac/fiendish grounds. The lyrics throughout the album are hardly innocent or hippy dippy rather concentrating on Mervin Peake's oeuvre, but do not hold much wickedness, but the album is a must for anyone into Titus Groan.

Another Nail is one of two tracks that come from their Durant's Louise days (the other being the sub-par Kite), but it is definitely the first inside the coffin of your sanity. Here the girl trio provide a hellish intro before the group takes over, but Bland's harmonium keeps popping up and the girls come into the group to provide delicious licks on their strings and then outro the track as well.

The second side of the album starts softly on Shoes and Ship, with the whole thing definitely progressive but staying calm and featuring haunting cello drones (I was not sure I could place this line for 100 points ;-) on the closing section. When listening to the extensive mini-epic Nothing Song, one can wonder if Lynne and Wood had not laid their hands on a copy of this album. The album is not always even as there are tracks when the string section is used in a conservative manner: Kite and are hardly more than songs where a strings synths could suffice nowadays. However the closing Just anyone holds a tense suspense where the women are more discrete than on other parts of the album.

While it does not hold the insanity of Tea And Symphony, the pagan savagery of Comus and the extraordinary enthusiasm of Jan Dukes De Grey, this album is yet another just unearthed gems from the early 70's, just waiting for progheads to stumble on it and carve out a 24-carat reputation.

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