BARCLAY JAMES HARVEST

Once Again finds Barclay James Harvest in a symphonic and miserable mood - symphonic in the sense that there are a few orchestral collaborations on this album, and miserable in the sense that several songs (including the utterly misleadingly titled Happy Old World) are depressing to the stage of being suicidal (in some cases literally). It's one of the more understated and subdued prog releases of 1971, but it's rather successful at that. In particular, I appreciated the subtle touch shown on the tracks featuring the orchestra, where the band don't overwhelm the orchestra and the orchestra don't overwhelm the band - a rare balance.

A classic and often hailed as BJH's best work to date, "Once Again" was remastered in 2002 and this is the version that caught my attention as I looked to familiarise myself with them.

Originally released in 1971, it is no surprise that this album is covered by a general veil of psychedelia, even if this expressed through the softest of approaches, quite often pop. The closest act that comes to mind is certainly The Moody Blues, where this album shares the "nostalgic" late 60's feeling to the nth degree.

Eight compositions and another five (although three are simply different takes/versions) comprise this release, the majority based on very slow tempos - actually many of them can be simply described as sophisticated pop-rock (and possibly proto-prog) ballads. The one element that stands out is Holroyd's work on the bass lines, easily the proggiest aspect of "Once Again", that otherwise does not show any sign of outright innovation. The orchestral work of Robert Godfrey on 'Galadriel' and 'Mocking Bird' is certainly worth of mention, giving these two tracks a more pompous, grandiose atmosphere with beautiful arrangements. If it wasn't for the latter I pretty much doubt that they would be remembered and hailed as fan favourites.

'She Said' is possibly the best number here (with the best guitar work), with 'Happy Old World' being possibly the weakest. Although the vocal melodies are pleasant, I get the impression that the tracks tend to drag much longer than they should have, and the experimentation/diversity is not there to sustain the duration, often leading to repetition towards the end.

All and all, a good album with its own character but not in my top list of the early 70's; nevertheless, this psych/blues feeling of nostalgia I get from "Once Again" will make me spin this a few more times in the future.

After the day

This CD and DVD package features a recording of John Lees' Barclay James Harvest performing live in London in December 2010. (As I have only heard this recording through Spotify, I can only comment on the audio and not the video.) The band was appearing as a quartet in the absence of Woolly Wolstenholme, who was unable to appear due to illness, and who passed away nine days later. It is unclear to me who stepped up and sung Woolly's vocal parts, but whoever it was he did a decent job, though one certainly misses Woolly's voice. There is, on the other hand, no particular lack in the keyboard department. The band sounds complete despite Woolly's absence.

The set list contains almost exclusively classic songs from the 1970's and is rather similar to the one that was recorded in 2006 for the Legacy - Live At The Shepherd's Bush Empire album and DVD. Among the songs included here that were not also featured on said DVD are the very Pink Floyd-ish Nova Lepidoptera, Summer Soldier, and a new song called Ancient Waves (that presumably will be featured on the new John Lees' Barclay James Harvest studio album due in September this year). The best part of the concert begins with this promising new song and continues with strong renditions of Medicine Man and The Poet/After The Day, both of which are vastly improved over their original studio counterparts. While the early part of the show was fully competent, it is here towards the end, when they are warmed up, that they really shine.

This is a surprisingly good live effort, especially considering the circumstances with Woolly's inability to appear and his wavering mental health and all. Still, the overlap in content with the previous Legacy release (featuring Woolly) makes the present one less than essential.

"That Was Then... This Is Now"

Like Wishbone Ash and Asia and some others, Barclay James Harvest too split into two separate bands existing simultaneously. John Lees and Woolly Wolstenholme (the latter sadly no longer with us) toured and recorded under the (somewhat pretentious) moniker of Barclay James Harvest Through The Eyes Of John Lees while Les Holroyd and Mel Pritchard did the same under the more conventional name Barclay James Harvest Featuring Les Holroyd. The present album is by the latter incarnation of the band and this is clearly the inferior one, at least from a Prog perspective. While Lees and Wolstenholme kept the progressive spirit alive, at least in the live setting, Holroyd and Pritchard focused on the more commercial aspirations that had increasingly dominated the band from the 80's onwards.

The present album is the latest studio release to date (by any of the two versions of the band). Revolution Days is about as far away from revolutionary as you can get. Filled with lightweight Soft Rock and Pop, this album is a dull experience. There is nothing offensive here, but also nothing exciting. There are several longer tracks, but anyone looking for anything progressive or even slightly unconventional will draw a blank. If 80's and 90's Barclay James Harvest was a watered down version of 70's Barclay James Harvest, Revolution Days is a watered down version of 80's and 90's Barclay James Harvest! Most of the songs have a tempo so slow that it feels like listening in slow motion, and when they raise the tempo somewhat and try to "Rock out" they fall flat like of the very repetitive That Was Then... This Is Now. Holroyd's voice is also too weak to carry the band for a whole album, and you get tired of it long before the end.

This is only for completionists

A very good album by an artist I was never really into as they seemed too mainstream for my tastes. This is perhaps their most commercial album with the famous hit single Mockingbird and in fact the song is the only one many would have heard such is its infamy, in the same way that many might consider Procol Harum to have only one hit with Whiter Shade of Pale. Mockingbird has an infectious melody and is difficult to get out of the head once heard.

Of course there is more on "Once Again" to revel in such as the glorious She Said, and very beautiful Galadriel. Ball And Chain is also worth a listen with some excellent riffs from Lees. The keyboard work of Wolstenholme is exceptional especially when he plays the Mellotron. The vocals are always easy on the ears and the whole album is quite a pleasant early 70s blast from the past. I would suggest it is the best of Barclay James Harvest and of course many might consider it to be a masterpiece. I am not so convinced as to that status but it deserves 3 stars for the two or three excellent songs.

Actually I am not a big fan or follower of the band. I know very well that BJH was well known in their 70s albums. This album came out in the form of cassette in my country so I just purchased it and not quite sure about its quality as one of the musician left the band. I remember vividly their Berlin concert that was famous at that time. Turn of the Tide ranks not quite strong with their best work featuring some songs from both John Lees and Les Holroyd. The sound is very different to their earlier work, being less guitar work even though there are many synthesizer works as a sort of replacement for the mellotron, the defining aspect of the BJH traditional sound. For me personally I like 'Highway for Fools' track even though some consider 'Life is for Living' as probably the best known track here and is typical of the bands well written, pop influenced 80s style, even though other highlights include 'Back to the Wall', 'Death Of A City' and the moving 'In Memory of The Martyrs'. The normal BJH work of including songs by Holroyd and Lees, with each singing their own, continues here and helps to provide variety throughout the album. Both are excellent singers with Holroyd offering a good flavour. The only thing is probably the missing memorable melody this album has as everything sounds flat to me. I know it's not a bad album but unfortunately is not that good overall and tends to make me bored listening the whole album.

Peace on earth and mercy mild - GW

'Hymn' is the opener of the album Gone To Earth (1977), which was (and perhaps remains?) BJH's best selling album. The single release preceeded the album by a couple of months and featured slightly shortened version of 'Hymn' and another John Lees composition 'Our Kid's Kid', a non-album track which has been added into the album's CD edition in 2003.

'Hymn' is a gorgeous, anthem-like song that lingered in the band's concert sets for a good reason. The lyrics give a warning about drug addiction and make an analogy between being "high" by drugs and spiritual high. "Don't try to fly, dear God, you might not come down." The lush arrangement reveals it's a product of a prog band even if the song itself is quite simple in structure, almost a sort of a singalong tune. The production is very clean but not sterile. One of the better tracks from BJH's Polydor era (since 1974, that is).

'Our Kid's Kids' hardly has anything that would hint at any progressive background of the band. It's more like an American country rock song by the Eagles or someone in their ilk. Well produced again naturally, but I doubt it gives big pleasure to a prog listener, or even to a casual BJH fan. Frankly I don't find much point in the lyrics either. +++++++++++++++++++++++++++++++++ (The line above was typed by my 4 year old daughter.) The cover art suits nicely to the title track, giving it some religious connotations in addition to the majestic nature of the song.

"Once Again" is a vintage classic. Recorded in late-1970, it of course retains a certain charm and beauty that could have only been captured during its time. When it comes to the sound on the album, it's agreed that there are many nods towards Moody Blues' classic era, mostly due to the atmospheric keyboards and mellotron work. But as another reviewer said, there are other edges to this music too, including the similar bittersweet qualities from early King Crimson.

"She Said" is the great opener, and talking of edge the hard-rock guitar here is very powerful over some of the other gentle arrangements. It's nice how this piece has a tranquil middle section with flute to calm the nerves before crashing back to the powerful verse lead-chorus. "Happy Old World" is another strong piece with some dark lyrics touching on the environment. The keyboards are quite eerie here.

These songs are catchy as well as melodic. They are melancholic too, while still being soft, pleasant and comfy, especially the following "A Song For Dying", a very emotional anti-war song. "Galadriel" and "Mockingbird" are definitely two personal favourites with Robert Godfrey's orchestral arrangements adding to the glory. "Mockingbird" really is the most stunning and majestic of all. The edgy guitar appears towards the end as well. This is a brilliant fusion of rock, folk and classical styles.

There are some mellow moments towards the end. "Vanessa Simmons" is a lovely folky acoustic song. The last two pieces on the original release "Ball And Chain" and "Lady Loves" aren't quite as good as the others but still very likeable, particularly the latter. Wonderful album this! Four solid stars.

Sincerely, "The Collection" is a compilation pretty interesting if you do not know BJH. Otherwise you can just leave it on the record shop shelf! I think building a compilation of compositions of EMI period , so the years 1969 - 1973, is not a bad idea. Except that "The Collection" is not well built.

Leaving aside the fact that a booklet with a minimum of bio and info would help (also considering that this compilation is branded EMI Gold) would move to the music. Now I would observe that those who at the time noted that BJH and The Moody Blues was very similar was not out of the way. But BJH were a hundred times more Rock. So it must be said, in my opinion, that were a little less BJH Prog. But this is an advantage, with their style.

Returned to "The Collection" I must admit that the compilation, in the end I like, too. But only for a few songs I would recommend it. And these songs are: "Poor Wages", "Mocking Bird", "Medicine Man" (here in single version), "The Iron Maiden", "Galadriel", "Someone There You Know" and "Song For The Dying". But I admit, these songs, although half of the track list, raise the value of music in a compilation with a nice cover but too poor in general.

BJH went weaker after their magnificent second album Once Again (1971), without radical changes in style. 1974's Everyone Is Everybody Else marked a bigger stylistic change, from symphonic to tighter and cleaner sounding sophisticated rock, and was an improvement over the preceding albums. This next one with such a beautiful cover art is still better, and very well produced. Some songs sound a bit like they were American (soft) rock of the time, but there's still a certain pastoral Englishness to BJH. For the vocals - sometimes a bad spot with BJH - this is average, not great but not the worst either.

All of the nine songs are at least listenable in their simple accessibility. Lyrics of 'Titles' is built on Beatles songs; the powerful chorus ("Lady Madonna, let it be...") easily sticks to mind. Les Holroyd's 'Jonathan' is a highlight and a tribute to Jonathan Livingston Seagull by Richard Bach. Wolstenholme sings his touching and majestic 'Beyond The Grave'. Slow and dreamy 'Moongirl' is very nice too, and 'One Night' ends the album finely in faster tempo, with a mood of urban loneliness. This album may be a bit lame and unproggy for many of us, but if you enjoy also softer melodic rock of the seventies, this will please you.