AMAZING BLONDEL

The first self titled album was experiemental in nature as John and Terry forged ahead on this uncharted path, with admittedly mixed results. By the 2nd album, Evensong, they had added Eddie Baird as primary guitarist/lutist and solidified their sound. On Fantasia Lindum they smoothed off the rough edges. And with 1972's England, they added orchestrations.

Each of the four albums had been a dramatic improvement over the previous one and their record label wanted them to keep touring. Problem is, John's marriage was falling apart and he wanted some time off. The label said "no." So John opted to walk away. With the sudden loss of their lead singer and primary composer (John had written 95% of the band's material), Amazing Blondel had apparently come to an end... or had they? It seems the record company wanted another album (these record execs can sure be pushy).

The mantle of leading the band onward fell to guitarist Eddie Baird who had previously only sung background vocals and had only composed two or three short instrumental tracks. Nevertheless, I think Eddie ended up surprising everyone by stepping up to the plate (to borrow an American baseball cliche) and hitting one out of the park. Not only was Eddie's songwriting highly melodic and uniquely catchy, his voice was instantly appealing. In both areas, Eddie had surpassed his former mentor.

A decision was made to keep the music fairly acoustic on this album although bass and drums were added for the first time, courtesy of guests Steve Winwood and Simon Kirke. Eddie's liberal use of 12 string guitars here is reminiscent of Genesis' Trespass or Anthony Phillips' Geese & The Ghost. And although the compositions themselves are much less 'medieval' oriented than on the previous John Gladwin led albums, the renaissance flavor is still around courtesy of Terry Wincott's supply of crumhorns, recorders, and harpsichords. And this is what makes this album so wonderful - unique instrumentation being applied to well crafted and highly appealing folk ballads. In addition, the first half of their program has been linked together into one continuous piece of music with a small chamber orchestra playing recurring themes between the main tracks similar to what the Moody Blues did on Days of Future Passed (but not nearly as big!). A nice little touch to be sure.

Leaving of the Country Lover, Young Man's Fancy, and Festival seem to work the best although all of the tracks are five star gems in my opinion. The odd song out is Weaver's Market which employs guest Paul Rodgers of Free/Bad Company/Queen on lead vocals along with market place sound effects for good measure.

Unfortunately, Amazing Blondel would jettison the crumhorns, recorders, harpsichords, and linking themes on their next three studio albums and would thus lose their uniqueness, which ultimately makes this album - Blondel: The Purple Album all the more special. You could say it's the ultimate transitional album, I suppose.

With the exception of the mid tempo Easy Come Easy Go (which features vocals by Eddie and Terry - not by Paul Rodgers as others have stated), all of the songs are rather slow. And there's not an electric guitar in sight. So don't expect any prog fireworks here. However, if you are a lover of the acoustic side of Genesis or classically flavored folk, then you may want to check this album out - even if you haven't been attracted to Amazing Blondel's earlier work. Is this a prog masterpiece? Yeah, in its own quiet little way, it is.

Fantasia Lindum kicks off with the title suite with short songs with instrumental pieces in between. The acoustic (Spanish) guitars are dominating with Terry Wincotts sweeping recorders and crumhorns on top. In Edward Baird, the band was in posession of one of the finest acoustic guitar players England ever produced. John Gladwin romantic voice is very gentle and very, very English. In short - side one on the original album is the finest piece of music the band ever produced. However, the shorter tunes on the second side is not far behind and "Seige of Yaddlethorpe" even managed to end up on several Island compilations.

"Fantasia Lindum" and the follow up "England" is essential listening for those who appreciate music from olde England. Some people call Amazing Blondels´music "folk music", which I think is a misstake. It´s more influented by the "nobel" music playd in the courts and manors during the middle ages and the early modern times!

Amazing Blondel represents a very sweet and soft Folk style. This music is purely acoustic Folk with lovely melodies and sweet harmonies. While I find this music listenable and even quite charming at times, I must say that it is exceptionally easy on the ear and it offers very little challenge for the Prog fan.

There are sweet harmony vocals here, but not at all the kind of complex harmony vocals that, for example, Gentle Giant are loved for. There are also lots of lovely flutes, but not the aggressive and rapid kind of flute play that, for example, Jethro Tull are famous for. There are strings to give this music a symphonic "sweep", but needless to say, this has nothing whatsoever to do with Symphonic Prog. Rather, the strings make it appropriate to call this "Chamber Folk (Pop)".

The religiously influenced Cantus Firmus To Counterpoint is an utterly tedious song that repeats 'halleluiah' infinitely! This is the weakest song on the album. Sinfonia For Guitar And Strings feature some nice keyboards like harpsichord and, of course, strings.

It must be emphasised that there are no drums, bass or electric guitars on this album ensuring that this music completely lacks a Rock base. This is not necessarily a criticism, of course, but it does put the music of England somewhat outside my (and most Prog fans') musical interests. There are, however, a couple of other albums by this band that I enjoy a bit more than this one.

I really cannot recommend this to anyone other than serious fans and collectors of this kind of Folk music

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.

Of the three albums I have heard by this charming little Folk group, this one is the most interesting one. This music is purely acoustic Folk with lovely melodies and sweet harmonies. The 20 plus minute suite that gives this album its title is the definitive highlight of the album and possibly of the band's whole career. While not a Prog epic by any means, this is a quite nice suite alternating between instrumental passages with flutes and some other folky instruments and melodious vocal passages. There is no doubt about the group's talents!

The second side is slightly less effective but follows in the same soft Folk style. It must be emphasised again that there are no drums, bass or electric guitars on this album ensuring that this music completely lacks the Rock aspect. This music is sweet and exceptionally easy on the ear and as such it does not offer very much challenge for the Prog fan. However, many Prog fans would probably be able to enjoy this to some degree, I know I do. Fantasia Lindum is a good and charming progressive Folk album (i.e. not a progressive Rock album). This is recommended, but hardly essential unless you have a special interest in this particular kind of music. If you are checking out Amazing Blondel, this is the right place to start.

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.