BEGGARS OPERA

The debut release from Scottish outfit Beggar's Opera, 'Act One' mines a distinctly neo-classical vein, offering up a familiar brand of symphonic progressive rock that comes complete with modern baroque rock interpretations of Franz Von Suppe both opening and closing the album. Issued in 1970 on the Vertigo imprint, original copies of 'Act One' are now actually quite sought after, the album's less-than-spectacular commercial performance rendering it quite rare. Now, however, and thanks to German reissue label Repertoire Records, the colourful discography of Beggar's Opera is readily available in classy mini-vinyl replica editions, granting a pair of interesting albums from the group's early days a timely revaluation. The first of these, their debut 'Act One', is pure symphonic grandstanding, a fast-paced fusion of rock and classical ingredients taken right from the the ELP school of progressive rock. The second, however, showcased just what Beggars Opera were about. Gone was the overt classical influence; in came guitars and sharper, shorter tracks for 1972's enjoyable 'Pathfinder'. Completely different from each other, 'Act One' and 'Pathfinder' both defined and illuminated the other, exhibiting two very different sides to the same collective. 'Act One', with its strings, fast-paced instrumental sojourns and almost reckless abandon, proved the more expansive of the pair, an album coated in musical ambition. 'Pathfinder', however, was far more accessible, a genuine rock album and arguably the group's most cohesive overall effort. For anyone interested in taking a closer look, both 'Pathfinder' and 'Act one' - in that order - represent Beggar's Opera at their very best. Later albums, although still resolutely offbeat, failed to scale the same lofty heights of curiosity engendered by the continued and highly-varied work of founding member / leader Ricky Gardiner, and it should also be noted that throughout two incarnations the beggar's Opera name has continued to write, record and release music well into the 21st century. Neither album is a masterpiece, though both feature some excellent moments; 'Act One', which features Martin Griffiths(vocals), Alan Park(keyboards), Ricky Gardiner(guitar), Marshall Erskine(bass) and Ray Wilson(drums), is definitely the more ambitious of the two; fans of ELP, Refugee, The Nice etc should all find something here. STEFAN TURNER, STOKE NEWINGTON, 2012

My Brother bought this Album for me for my Christmas in 1975 and I have loved it ever since. It is a shame they did not have more recognition in this country (Scotland). They were more succesful in Europe. I have three other Albums, Pathfinder, Get Your Dog Off Me and Waters of Change. Although the content and line up have changed as they went along I still think they deserved more success. The albums have been released on CD and they are very popular. Original Vinyls are being sold for '40+ I love them all. This Album is IMO their best and is as enjoyable today as it was 38 years ago.

I feel like crying! Luckily that the album of the series "Noble Price" are budget line, otherwise... Oh yes, because "The Final Curtain" is an album that I would not recommend to anyone. Reading between the songs there is something good: "Yes I Need Someone" (good rock) or "Now You're Gone" (honest power ballad), but I can only think that if between 1981 and 1991 no one has given Beggars Opera a chance to release an album (and meanwhile recorded) was a valid reason. Yet it should be noted that in the 80's was published even worse (as today).

Ps: It closes the album "Poet & Peasant" a masterpiece if it would be recorded by Rick Wakeman. But here it fails miserable.

Although this curious Scottish outfit would arguably reach their creative peak on 1972's excellent 'Pathfinder' album, both their previous efforts - 1970's classically-influenced 'Act One' and this 1971 release - are well worth investigating.

Eschewing the classical motifs of their debut for a more rock-based sound and made-up of shorter individual compositions, 'Waters Of Change' proves to be a surprisingly eclectic effort featuring a broad palette of style's, the album's nine tracks truly running the stylistic gamut and moving gracefully from celestial psychedelia('Time Machine'') to straight-ahead symphonic rock('Nimbus') and back again via the theatrical strains baroque pop('Silver Peacock').

Six-strong, Beggar's Opera were one of the many groups who operated on the margins of the progressive rock genre, never fully attaining true commercial-or-critical success yet making enough of a splash to be taken seriously. With each album deliberately different from the next, this was a very much a group with lots of ideas but just a tad unsure of how to actually use them all. And 'Waters Of Change' is a prime example. Never dull, it offers up some great moments - opening track 'Time Machine' is suitably atmospheric - yet showcases a slightly absurdist streak that sometimes detracts from the music. That said, you'll do well to find anyone quite like Beggars Opera, with the nearest touchstone probably being the similarly- eclectic sounds of Howard Werth's Audience. Hardly essential stuff then, but not without it's merits.

STEFAN TURNER, STOKE NEWINGTON, 2012

This album is a proof of connection between psych Rock and a classical tendencies, while also one of the primer examples of this unholy alliance. Uriah Heep and it's organ work is one similar sounding band I can give you from scratch. True, this album sounds alike the first one, but that's not something too bad in my judgment. They slowly refined their sound, crafted new songs on a similar pattern and here we go. Unfortunately, later on, their direction will take a whole new path, whole new meaning and, from our Prog point's of view, also quite sad one. Nevermind that, we still have these three beauties.

The followup to Act One is no lost masterpiece, but it's enough of a step up from its predecessor to merit an extra star and the full attention of anyone keen on the Vertigo label's early prog bands. The songwriting approach moves away here from the Keith Emerson- inspired approach of the previous album - gone are the super-fast songs dominated by Alan Park's organ tossing out classical quotations like anything - and in its place are more balanced songs on which the other instrumentalists get a more equal share of the spotlight, and the pace is a bit more varied than on Act One (which was more or less stuck in "fast" gear with regular excursions to "extra fast").

Part of this is due to the increased role of Virginia Scott in the group - she'd been brought in for the previous album as a songwriter to compose original material for the group, and with the sharp reduction in covers of baroque classical pieces (in fact, I think all the music here is original) her contributions have more room to breathe. (As, indeed, do the musical ideas of the other band members, most of whom step up to contribute to the songwriting on this album.) On top of that, Scott became a performing member of the band at this point in time too, joining as the group's dedicated mellotron player, her playing adding new layers of texture to the songs and helping to make them less of a purely organ-dominated affair.

None of these improvements - or the higher standard of production - are quite enough to propel Beggars Opera into the stratosphere, but the album still stands head and shoulders over its predecessor, and should probably be your first port of call if you plan to explore the band's work.

Beggars Opera - Waters of Change (1971)

This Scottish symphonic/crossover prog band isn't often mentioned, though Beggars Opera does have something to offer for fans of the symphonic genre. The band recorded under the Vertigo flag and thus had a good recording, way better then that of Geneses and Yes in the same years. The keyboards, drum, bass and guitars sound thick and the vocal sound full and close in the room.

Beggars Opera sounds as if playing prog from after '76, but this is actually a very early album. The band sounds as if most of the material is written by the guitar-player and the keyboardist, showcasing some nice interplay there. The vocals are bright, high-pitched and a bit glamorous, but somehow I can really enjoy them. The material of Beggars Opera never get's too intelligent, but there is extended song-writing with many themes, mainly on side one.

The only problem with this 'Water of Change' release is the inconsistency of the record. I could easily give side one the four star rating. 'Time machine' is just a great opening track with a very classy main theme and great vocals during the couplet. At times the track get's very exciting, but the strength lies in the continuity of the strong rhythms. The other long track of side one 'I've No Idea' also has some very catchy melodic parts and some more strong vocals, but the lyrics are a bit of letdown (love, love, love..). The symphonic land-scape of 'Nibus' is a strong ending of the first side. 'Festival', the opener for side two, is a happy track about a festival that makes everybody happy. It's funny how the Italian PFM would kind of semi-cover this track of Beggars Opera. Their 'E' Festa' has the same form, the same rhythms (just listen to those bass-lines) and an extrovert happy style. The 'Silver Peacock' intro uses the mellotron to recreate the medieval court trumpet style, which is quite a funny take on the instrument. The 'Silver Peacock' track itself lacks the direct sound of the that of other songs before-mentioned. The refrain has however a catchy theme. The final track 'The Fox' fails to amaze me, but it also has some good instrumental passages.

Conclusion. This is a strong early symphonic progressive rock album that should be regarded as such. It's too bad the band couldn't keep up the energy and vibe of side one for the material of side two, which somehow sounds less interesting and direct. Still recommended to fans of the symphonic genre, who will find a well recorded obscurity (which is quite rare in itself). Three and a halve stars.

By this time of the Lifeline album,we have yet another lineup change, with Ricky Gardiner and Virginia Scott gone.The band now is Gordon Sellar now guitar whereas he was the band's bass player previously.Linnie Patterson-vocal,Colin Pattenden-bass formerly of Manfred Mann's Earth Band.Alan Park is back again on keys and John Hollywood -drums.

If you are looking for more like their first three great albums,you won't find that here ,unfortunately.But this is not that bad an album really,in the more rock vein as opposed to prog.

Lifeline opens the album with a good pulsating drive in a electro pop rock mood a la Saga.Not a bad song.

Then we get 3 songs in a row,I gave you love,You never believe I'm human and Showman,that are pretty much just straight ahead rock and rather bland,but the 3rd of them stands out a bit and we get some nice guitar from the former bass player.

They must have had Camel's Breathless lying around the studio,because next 2 songs got a flavour from that album. Yes I need someone is a solid rock song with a good drive with a splash of prog thrown in.Kinda like Summer Lightning.

Next one,Lost in space is a jolly happy flowing song like Down at the farm,but less quirky.Good song.

Now you are gone could be a Joe Cocker (Patterson sounds like him here,nice and raspy.) slow rock song with female ooh ahh backup,and some nice guitar.Another good song.

It must have been a nice sunny day around the studio when they made this one,Bad Dreams.Nice catchy AOR West coast sounding like some America/Poco/Player .Nice one.

Four Moons is a two part song that starts like a piano ballad with singing,in the piano bar mood.Then the songs slip in to a heavy synthy pulsating song with solid drums.This is quite dancey.I like it.

This one is my favourite between Get you dog of me and Saggitary of the 3.Have not heard Beggars can't be choosers.

So as a former great prog band that has made a good rock album here, it is for me 3 stars. But for anybody who do not like Beggars Opera this is probably 2 small stars

Ricky Gardiner lays down some mean Hendrix-inspired solos here and there on this debut album, but the show is well and truly stolen by organist Alan Park. Indeed, most of the compositions here simply involve the rhythm section playing at a frantic pace and Park playing his guts out, referencing as many different well-known classical anthems as possible whilst Ricky dives in with his guitar work here and there to spice things up. I wouldn't call this a top- rank album because its compositions are a bit *too* dependent on that schtick - sooner or later listening to the album becomes an exercising in spotting the classical quotations rather than actually enjoying the music - but it's a good enough first effort.

Do you like classical music? Listen to the real thing.

The first album of Scottish band Beggar's Opera, released in 1970, is one of many attempts, typical of that period, of mixing rock and classical music. "Act One" contains all the exaggerations typical of baroque rock. References to classical music are continuous, even more than in other bands known for the same approach to music, such as Nice, Procol Harum or ELP. We can find in this record classical themes by Rossini (William Tell), Grieg (Peer Gynt), Mozart (Eine Kleine Nachtmusik), Sibelius (Karelia Suite) etc. In addition, all the interpretations of these masterworks are played coldly, performed without any passion, apparently for the sole purpose of following the trends of those years, following the path opened by the Nice.

Apart from the fun of finding the classical references, there is little else, really. The best track is the brief Memory where at least the constant references to classical music are temporarily abandoned for the sake of melody . The solo parts are almost always handled by the organ of Alan Park (the organ is virtually omnipresent ... and ultimately boring) and the short vocal parts do not excite me.

As mentioned above, the music is also very influenced by Nice. Raymond Road seems a continuation of "Rondo": the rhythm is virtually identical. This song including also "Intermezzo From Karelia Suite", already recorded by Nice in "Ars Longa Vita Brevis".

Heard today, "Act One" is a hard aged badly. If you are not a fan of the band, avoid it. Rating: 2/10.

2 stars.

Best song: Memory