ROBIN WILLIAMSON

I'm not sure that many folks will like this ... because, in many ways this is poetry at its best ... this is not a bunch of songs. More like a bunch of little stories, and I have a feeling that these are very much ad-libbed ... and many times I wonder ... how did he come up with that? No one can explain his feeling when he tells his stories, and the music accompanying this is unreal ... do not look to listen to this as if it was just a bunch of songs ... let's say that there is no song here ... just Robin and a few friends ... doing something that many of us think is crazy, and wonder how they came up with all that.

In the middle of all this, are a bunch of pieces that are phenomenal, and I had to listen to the album more than once to be able to feel comfortable with the whole thing, because it is so different as to just about be really difficult to say something. But there are some gems in here, that are too special to be left behind.

The Iron Stone, Political Lies are probably the two pieces that you will remember the most, although I find it difficult to even remember his words ... somehow I hear the story and follow it, but it's as if the words are melded with the story in such a way, that it makes it difficult for us to concentrate on just one thing that we are used to do ... thinking of the lyrics, and all of a sudden, the rest of the piece disappears ... it's as if the music is so elusive and special as to keep us in the story ... not the words, and here, how Robin does it in each and every piece is so special and by far such an individuality that makes this different, and special ... it might even be considered "prog-related" but if we take how this disdains the standard format for anything, this blows the style/definition to smithereens. I'm not sure I even want to say something about each piece, as I thought that listening to it, is going to be such an experience, and so different for many of us, as to make it tough to review something, or say something that in so many ways is so far and beyond words ... in the end, it is almost like "Verses at Elsmere" ... just a flow of feelings and words, and the music ... goodness the music ... makes you wonder how someone even considered doing this ... but it was obvious that some courageous folks took the chance and the work by Ale Moller, Mat Maneri and Barre Phillips is so incredible all the way through ... in what is one special album from an artist, that has so many albums that are so far and away from our ideas of what music, song, or poetry is ... there is a mastery about it, that is unbelievable. And all you can say is ... thanks Robin ... very neat and far out ... very neat and far out.

Best known as a founding member of the Incredible String Band, Scotland's Robin Williamson made his solo début with this 1972 release while still a member of the band. The album appears as the second release on Island Records under the "HELP" catalogue number (HELP2), indicating that it was a budget priced album (along with other similarly marketed albums such as "Pictures at an Exhibition" - ELP and "Earthbound" - King Crimson). The attractive pricing meant that the album attracted attention from a much wider audience than might have been expected, Williamson's name being unfamiliar to virtually all who bought it. The LP came in an attractive embossed cover, with a colourful inner sleeve bearing the lyrics and recording details together with hieroglyphs (and translation!).

Despite the successful marketing strategy, "Myrrh" was and always will be a niche album which will only ever appeal to a relatively small group of people. Williamson takes on the vast majority of the vocal and instrumental duties himself, calling on a small number of helpers to add colour to selected tracks. He also writes all the songs here except for the opening "Strings in the Earth and Air" written by Ivan Pawle. Williamson's voice is perhaps most kindly described as an acquired taste, his screeching drawls and wails being passionate but somewhat challenging.

I well remember listening to this album several times around the time of its release, and feeling that something was "missing", but unable to put my finger on what it was. It was only when I noticed that right at the end of the opening song a couple of bass notes filled out the sound, that I realised it was indeed bass which was virtually absent. If I was being positive, I would say that this brings out the fine instrumentation, but in all honesty it results in a sparse, uninteresting sound with something of a demo atmosphere.

If Williamson's voice was more orthodox, the effect may have been less glaring, but it really is hard work at times to appreciate the fine lyrics and musicianship in such surroundings. That musicianship sees Williamson playing a diversity of instruments ranging from acoustic guitar to cello, oboe and violin.

It is only when we get to the side two opener "Sandy land", complete with country style pedal steel guitar, that we really find anything truly melodic. Here we suddenly find a hook and backing vocals (by Williamson himself). The song has the feel of a Bob Dylan single, the great Gerry Conway's drumming adding further depth to the piece. Conversely, the lengthy "Cold harbour" is an atmospheric but doomy dirge featuring only acoustic guitar and vocals which I regret to say left me as cold as said harbour.

I have seen it said somewhere that "...fans flocked to "Myrrh"...". This is a little misleading, as the album sold on the back of its peers on the Help label, the inquisitive being drawn in by the low price.

As I suggested earlier, this is an album for those already converted to the music of the Incredible String band. Williamson is clearly a talented writer and performer, but like Dylan himself, this does not necessarily mean he is an easy listen. Approach with caution.