ROBIN WILLIAMSON

Best known as a founding member of the Incredible String Band, Scotland's Robin Williamson made his solo d'but 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.