AMAZING BLONDEL

We can see how much was lost when main singer/songwriter John David Gladwin left in 1973 for personal reasons, and it is truly amazing that the remaining duo persisted with quality output for a few more years. Here the most engaging and enduring songs come from Gladwin's studio sessions between 1973 and 1978. Whether he is performing in the olde Englishe style ("Charades", "Fine Knacks for Fair Ladies", "Rendezvous") for which he was best known in the group proper, or a more modern folk rock mode in a surprisingly rich tone ("Airport Song", "Going Where the Music Takes Me", "No Ordinary Love Affair"), the quality rivals the best of the band's output in their heyday.

Edward Baird is no slouch either, although his work is uneven, ranging from mundane and lyrically inane pop ("Crazy Woman", "Hangover Love", "I've Got News for You", which bears no relation to the fine number of the same name from the same period which appeared on the "Inspiration" album) to classy 70s soft rock of the type that graced later Blondel albums ("So Long", "Funny", "Walkin' Through the Night", "Chinatown"), replete with acoustic dimensions that would make the American purveyors blush. His "Dedication to Felix" is the highpoint of the set, blending the Gladwin-influences with his own, concocting a sumptuous mix of the old and new Blondels while combining a sensitive song and a worthwhile tune. The members may have brought their own ideas to the table when the group came together organically near the end of the 60s, but their common vision was so acute that it's sometimes hard to tell a later Gladwin tune from one by Baird.

Terry Wincott did the least writing and singing, but contributes the noteworthy and somewhat harder edged "Old Man" that alludes to the writer's own mortality and changing roles that come with age and can be adopted gracefully. On the flipside, his "Love on the CB" is as dated musically as materially, even though it is the most recent song in the compilation, hailing from the late 80s. The earliest work here is also a dud, "That's the Way Love Goes", which does have historic value for documenting Gladwin and Wincott's willingness to play other people's music in the mid 60s if it meant scoring a record contract. Similarly, Baird's 80s kerfuffle "All Right by Me" was an ill-advised turn to the blues.

As with the later similar single CD "On with the Show", the live recordings of their studio work are generally not adding to the cause, with the possible exception of "Young Man's Fancy" incorrectly labeled here as "The Leaving of the Country Lover". Even the Gladwin re-covers are dispensable. Given that entire albums by this fellow seem to have remained unreleased, to include yet another version of "Shepherd's Song" is baffling.

The bonus to the proceedings is a 3rd disk, a DVD consisting of an informal interview with the three principals recorded in 2002. Humor, grace and genuine love of their craft shine forth, and, watching it alone as a longtime fan, I was alternately laughing out loud and fairly moved to tears. Indispensable for the afficionado and not the best place to start for a newbie, "Going Where the Music Takes Me" is a valuable historical document that epitomizes a long gone era, with its close-in associations and necessary pull backs, and the ubiquitous idealism of the day, where the music took one far...quite far indeed.

The progressive component is even more dubious than in the original works of the group, and even though the band's uniqueness shines through in both the ancient ("In the Bleak Midwinter", "Love's a Nightingale", "Queen of Hearts") and modern styles ("Keep Away", title cut,, "As Close as This", "Rings and Things" which always reminds me of "Further Up Further In" by the Waterboys), and several live cuts improve or at least offer a refreshing take on the originals ("Weaver's Market", "Help us Get Along"), this just isn't close to the best the group can do. Several pieces were clearly never properly recorded and are distorted ("Blackbirds and Thrushes", "Love Sonnet") while others show the group branching into the netherlands of rock and blues("Josie", "I Need You","Night Life") or into philandering cliches ("I Can Hold You") to disastrous effect. In all, even the best of the lot seems stripped down compared to the group's ornate early style, which can be pleasing in an understated way ("Sleepy Laburnum", "Genevieve")

It might have helped my appreciation to have bought the bricks and mortar album rather than a legal MP3 download, just for the satisfaction of seeing the liner notes and placing the contents historically. "On with the Show" is a mixed bag in every sense, well worth it for the committed fan but way down the list when compared with all but the worst couple of the group's original studio albums. 2.5 stars, reluctantly rounded down by this Blondel enthusiast.

Not really. Where are the really soaring harmonies, the rambunctious yet controlled melodies, the showmanship? It's just TOO sedate for words, from the opening Latin prayer right through the proceedings. This disappointing CD just never takes off, but at the same time makes me feel guilty for not liking it. It has all the raw ingredients but commits the great sin of sounding unenthusiastic, independent of what the band was feeling as they created the oeuvre. This might explain why it appears to have been a one off. It's like a restored mechanical device that looks good behind glass, but simply can't pass muster in its original environment.

Without the minstrel John Gladwin himself, AB could have easily packed it in. He really was their sound in so many ways. He wrote most of the songs and did most of the singing, but instrumentally they were group efforts, and Baird and Wincott had to be influenced in the songwriting department by Gladwin's legacy. I would not be surprised to learn that they had actually written quite a bit in the preceding 3 years, because what is presented on "Blondel" is like what came before, except that it sounds influenced by 300 year old music rather than the real deal. Even the subject matter has not changed that much, except that the focus is more on boy-girl romance rather than love of countryside. It's all romance anyway. The harmonies, acoustic instrumentation, heavenly melodies and earnest demeanour all remain. This version may not be as idiosyncratic, but it is just as authentic.

One other characteristic has been inherited - the tendency to front load albums. The components of Side 1 are all breathtaking, enhanced by judicious orchestral introductions and energetic and optimistic verses and choruses. The one that holds up best is "Young Man's Fancy", with its upbeat yet soothing approach and lovely fadeout, but both "Leaving of the Country Lover" and the Paul Rodgers backed "Easy Come Easy Go" are both fluid and captivating. The latter could have been a hit single in its day, and is the first recorded association with Free/Bad Company personnel. Side 2 does contain several gems - "Sailing" and the melodically innovative "Festival".

In retrospect, these modest fellows need not have implied that they were no longer amazing when they labelled this disk. It is of typically high quality and warrants a place in your collection if you ever thought of including soft rock on your top shelf.

Given the above, it is thus surprising how enjoyable this live recording is, and sad that it, like all but one of the 3 preceding studio albums, has never seen a proper CD release. The duo performs well chosen samples mostly from "Blondel" and "Mulgrave Street", which are naturally sparer than originals, and it suits them well. The orchestration adds more class than anything. To add to the enticements, "For our Love" is previously unreleased and fits in well with the rest of the material. Versions of "Lesson One" and "Sad to See You Go" are actually better than before, while "Leaving of the Country Lover" is just different, almost like a new song. The theme of leaving for the foreign wars had been explored early in the Gladwin days, so this latter day tune shows that Baird and Wincott were not about to abandon their routes...yet.

While "Live in Tokyo" does not contain the generally regarded classics of this band, it is an effort that does the band justice, and could serve as a sampler for the 1974-1976 period of the group.

The shortest and last part of the trilogy might be the best thing they ever did. "Afterglow" really condenses the band's love of their surroundings and is simply rousing in every sense. The vocal technique of Mr Gladwin is staggering in its beauty, and the lilting harmonies only augment his efforts. As for the rest, "Sweet Sorrow" has a similar timbre and is also uplifting, but the rest of side 2 is nice without being outstanding in any way.

After "England", apparently Mr Gladwin didn't feel he had much more to add, so he departed the group not to return until their brief 90s reunion. The band soldiered on and maintained quality through several releases, but it was Gladwin who had made them amazing and oh so much a product of England.

For the prog pedigree I point to the acoustically intricate "Queen of Scots", the fits and starts of "St Crispin's Day", and the airily eerie "Willowood", but I would recommend focusing on the sheer songwriting prowess and the penchant for making the new seem old. "Pavan" sets the tone from the start, and the rousing choruses of "Old Moot Hall", the harpsichord backing of "Under the Greenwood Tree", and the stately closing hymn "Anthem" all boast of authentic accomplishment.

It is true that the music of AB does not have much edge, but this is compensated for by the skill and judgement of the participants. It seems amazing that Island records gave a voice to this group, even knowing what we know about the musical diversity of that time, but many fans the world over are glad they did nearly 40 years on.

The inclusion of the multi-part "Fantasia Lindum" suite is uncontestable, but I would have definitely swapped in the lovely "Seascape" from "England" in preference over the lesser material from "Fantasia". The gorgeous "Anthem" off of "Evensong" would have worked better than "Spring Season". I mean, how many seasonal songs do you need, while "Anthem" bared the group's church song roots, while being more atypical of their sound.

While the running order could be questioned - why didn't they set them up chronologically - at least most of each album is kept together. In sum, this is one of the more representative compilations available, perhaps overly representative. If you like it ok, then stop here. If you love it, then I recommend seeking out "Evensoong" and "England" , even if that will leave you with a fair number of duplicates for your trip back to an idealized period.