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Amazing Blondel -Fantasia Lindum (Swift,Swains,Leafy Lanes)Added by inCognito710
Amazing Blondel - Saxon LadyAdded by Mandrakeroot
Cantus Firmus To Counterpoint - Amazing BlondelAdded by inCognito710
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![]() 2.97 | 9 ratings The Amazing Blondel 1969 |
![]() 3.56 | 13 ratings Evensong 1970 |
![]() 3.48 | 13 ratings Fantasia Lindum 1971 |
![]() 3.67 | 14 ratings England 1972 |
![]() 3.57 | 7 ratings Blondel (The Purple Album) 1973 |
![]() 2.92 | 3 ratings Mulgrave Street 1974 |
![]() 3.77 | 4 ratings Inspiration 1975 |
![]() 2.00 | 2 ratings Bad Dreams 1976 |
![]() 2.84 | 5 ratings Restoration 1997 |
![]() 3.19 | 3 ratings Live in Tokyo 1977 |
![]() 3.57 | 4 ratings A Foreign Field That Is Forever England. Live Abroad 1996 |
![]() 3.68 | 4 ratings Englishe Musicke 1993 |
not rated
Evensong / Fantasia Lindum 2004 |
![]() 3.00 | 1 ratings Going Where the Music Takes Me 2004 |
![]() 2.00 | 1 ratings On with the Show (In Per Ostendo) 2007 |
Review by DavidMinasian
For my first Prog Archives review I thought I would take a trip back to 1973. It was an interesting
year for this quaint little trio (soon to be duo) from the UK known as Amazing Blondel. Under the leadership of John Gladwin
and with the able assistance of Eddie Baird and Terry Wincott, these talented musicians strove to
create new music which sounded as if it had originated a few centuries earlier. By utilizing a
variety of acoustic medieval instruments, they came up with a sound that was not unlike what you
might hear at a Renaissance Faire. It was an idea that would later be adopted by Blackmore's Night a
few decades later, but make no mistake, this was quite 'progressive' at the time.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.
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Review by Dr Pripp
The three albums the Amazing Blondel made for Island records with John Gladwin on board
are all very good, especially "Fantasia Lindum" and "England". Now, I can't consider them
as "progressive rock", they more sort of "progressive Elisabethian" (good one, isnīt it). There is
no electric instrumentation and the use of several medieval and renaissance instruments
makes a comparison with early Gryphon or John Renbourn Group most relevant. But the
Amazing Blondel were a very unique ensemble. It is kaind of amazing that this sort of music
was released by the independent Island records. They could hardly expect any chart success!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 Blondelsīmusic "folk music", which I think is a misstake. Itīs more influented by the "nobel" music playd in the courts and manors during the middle ages and the early modern times!
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Review by
SouthSideoftheSky
Prog Reviewer
Charming but unchallengingAmazing 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
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Review by
kenethlevine
Special Collaborator Prog-Folk Team
Like most collections of previously unreleased material gathered from a variety of sources, "Going
Where the Music Takes Me" is one for the fans. What makes it more interesting is that it traces the
many permutations of AMAZING BLONDEL's members over the course of 2 decades and reminds us that the
lack of releases or record company deals did not equal lack of creative output. On the downside is
the persistence of alternate versions of previously released song, most of which do not add to the
cause, especially when still more original work remains in the vaults. Another issue I have with
the compilation is that the liner notes reveal a chronological order ignored by the compilers, who
seem to have proceeded with their task willy nilly. I recommend sequencing them on your friendly
device according to date of production
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.
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Review by
SouthSideoftheSky
Prog Reviewer
Swifts, swains, leafy lanesOf 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.
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Review by
kenethlevine
Special Collaborator Prog-Folk Team
After several dozen unreleased cuts flowed from the vaults in 2004 under the name "Going
Where the Music Takes Me", one would have thought that the spelunking had come to an end
as far as AMAZING BLONDEL's archives were concerned. But enter the Dreamcatcher label to
complete (?) the picture, with 20 short samplings of the "new" and/or "live" variety. Again the
period covered is broad, from the 60s to the 80s, and the styles from blues and rock and roll to
Elizabethan.
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.
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Review by
kenethlevine
Special Collaborator Prog-Folk Team
Too many bands reunite for all the wrong reasons and then proceed to show us that they can no longer sing, write, play or arrange. Amazing Blondel's first album as a trio since 1973 seems to result from a genuine desire to come together as a band. The general basis for their sound remains intact - the almost entirely acoustic ancient instrumentation, the vocal harmonies, the well played quaint dances of honour. Sure it's more subdued than what came in the early 70s, but what can one expect? They must all have been well into their 50s by 1997, and the compositions reflect...well, the reflective spirit of middle age. Nothing wrong with that, and in fact you might even say that the style is more suited to the grey haired to begin with. So all's well right?
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.
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Review by
kenethlevine
Special Collaborator Prog-Folk Team
In the broad brush world of progressive rock and its many sub genres, the transitional album is a fascinating beast. Some of the best offerings in history could be so described, as the band has its feet in two eras, the one past and well documented, the other in a yet unrealized future. In the realm of these denizens, "Blondel" is the representative from Amazing Blondel and, depending on your taste, you might regard it as their best. Because it is not quite as unique as their previous efforts, I cannot quite succumb to such platitudes, but suffice to say it is definitely up there.
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.
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Review by
kenethlevine
Special Collaborator Prog-Folk Team
For about a quarter century, this was the only legitimate live recording available by Amazing Blondel. Even when "A Foreign Field" was released, a look at the track lists reveals not a single common tune between them. This is because John Gladwin left several years before "Live in Tokyo" was performed, and by that time the band was more Blondel than amazing. They had their own repertoire featuring Eddie Baird as primary vocalist, and, while the focus was still on gentle romance, it was mostly fast forwarded to the present day, and showed more of a Beatles influence. Gladwin had such a bardic quality to his voice that his loss had to be felt in reduced distinctiveness.
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.
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Review by
kenethlevine
Special Collaborator Prog-Folk Team
This collection of live performances demonstrates that Amazing Blondel was fully capable of reproducing their studio sound in a live format, which should not be surprising given their level of perfectionism and professionalism. It also shows they had some charisma and a sense of humour in a concert setting. Beyond that, not much is added to our appreciation, as most tunes are simply reproduced fairly faithfully, with precious little improvisation and embellishment, and no material is presented that has been hitherto unavailable. In fact, the only place where they really deviate is in "Shepherd's Song". Of all the great songs in the AB canon, why they enlisted "Shepherd's Song" as a singalong is quite beyond me. It really doesn't give one much to work with, being dreadfully mundane as is, but extended to 10 minutes by half-baked audience participation it becomes a serious barrier to listening pleasure, especially if the skip button is far away. Moreover, the poor sound quality especially in the upper registers in many tracks completes the picture of a disk that is really only for those who want to....complete the picture. At least a DVD would have been interesting from the perspective of how odd the band must have looked with its instrumental smorgasbord, and given me cause to round this review up a half star, instead of down.
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