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SHIDE & ACORN

Prog Folk • United Kingdom


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Shide & Acorn biography
Originally known as FOEHAMMER and later PEPPERMINT SNUFF OF WIGHT (and later simply WIGHT) SHIDE & ACORN were, despite their bevy of names, a short-lived folk rock group from the Isle of Wight who formed, renamed several times and disbanded all in the space of about two years in the early seventies. The band released only one studio album, the 1971 independent label offering 'Under the Tree'.

The band's music is rather light fare, featuring female vocals courtesy of Joy Perkis, twangy and mellow psych guitar and rambling references to a Tolkienesque world of peace, love and fantasy.

SHIDE & ACORN's catalog grew in the late seventies thanks to the discovery and release by Kissing Spell of two CDs of various early, unreleased tracks, most of which were recorded prior to 'Under the Tree' while the band was still known as FOEHAMMER or WIGHT. Guitarist Mike Jolliffe, Mick Cuffe and Jerry Cahill would go on to form TRANS LOVE and later DANCER, another Isle of Wight band who recorded and quickly disappeared with their single offering being released nearly thirty years later, also on the Kissing Spell label. Jolliffe also appeared with the URBANITES and performs occasionally today as part of regional act the ACCELERATORS. Perkis left the music business altogether.

SHIDE & ACORN are an admittedly obscure example of early seventies acid folk whose reach was confined largely to the native island until the reissue of nearly all their old recordings in the late nineties.

>>Bio by Bob Moore (aka ClemofNazareth)<<

Shide & Acorn official website

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SHIDE & ACORN discography


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SHIDE & ACORN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.95 | 2 ratings
Under The Tree
1971
3.00 | 2 ratings
The Legend of the Dream Stones
1993
0.00 | 0 ratings
Princess of the Island
1994

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SHIDE & ACORN Reviews


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 Under The Tree by SHIDE & ACORN album cover Studio Album, 1971
2.95 | 2 ratings

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Under The Tree
Shide & Acorn Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

3 stars Shide & Acorn's only proper studio album is nothing to get too excited about. In fact, the band's entire output consisting of one studio release and two compilations of early material, demos and outtakes (released long after they disbanded) never made all that much of an impression on the acid/prog folk community. The band has managed to achieve something of a semi-legendary status thanks to their inclusion in a handful of various-artist collections over the years, but in my opinion that is for the most part undeserved. They were one of a glut of folk-rock bands that proliferated in the wake of the Incredible String Band and Fairport Convention's popularity in the late sixties, and by the time the band managed to put together their first studio album the wave was already passing. That combined with the almost complete lack of publicity for this minor-label, limited release all but ensured it would sink like a stone and be lost to history.

Not to say this is a bad album; in fact, as mellow contemporary folk with very mild acid tendencies this is fairly decent music. The short opening blues instrumental is misleading as none of the rest of the album sounds anything like it, but given the loose fusion of sounds coming out of the folk resurgence at the time and the lack of rigid adherence to defined genre stereotypes I suppose it is not all that out of place here.

Most of the rest of the album consists of a combination of mildly-rock tinged traditional- sounding British tunes and ISB-inspired acid folk. The former is well-represented in songs like the airy "Eleanor's Song", "Away, Fly Away Love", "Solitaire" and the title track. The latter influence comes across on the electric and spacey "Trucking" with its layered strings and vocals dripping with the pungent odors of patchouli and pot, along with "So Long Day" which plods along with acoustic harmonics and male/female vocal tracks that sound as if they were lifted directly from a Licorice McKechnie/Robin Williamson duet.

The most memorable tune, relatively speaking, is the flute and piano-dominated "Marigold" with its slightly off-kilter tempo and acid-tinged mellow electric guitar soloing. The song doesn't stand up well over time, but would have been quite appropriately placed when it was recorded in folk-drenched Britain around the beginning of the seventies.

In all this is a pleasant album, but one that adds nothing to the progression of folk music of its day. I'd place it at just inside of three out of five stars, with a mild recommendation for serious students of progressive and acid folk.

peace

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