TUDOR LODGE

From Reading, John "Cee" Stannard and Roger Strephens started this band as a coffeehouse duo in 1968 but, in 1969, Lyndon Green replaced Strephens and American singer/flutist Ann Steuart joined to form the band that toured the south of England for a couple years before it recorded this album and released it in August of 1971.

1. "It All Comes Back To Me" (4:19) The vocal performances supported by a gorgeous if simple weave of acoustic guitars and strings are absolutely heart-wrenchingly beautiful. The surprising participation of bass virtuoso Danny Thompson (THE PENTANGLE) is uncharacteristical subdued. Maybe he understood the exceptional chemistry of the lead trio and did not wish to intrude. My first top three song. (9.5/10)

2. "Would You Believe?" (2:29) sounds almost like a song from the musical Godspell. There is a certain surprising maturity expressed through the design and recording of this song that belies the ages of its twenty-something band members. (8.75/10)

3. "Recollection" (3:17) more musical balm. Some of the best three-part vocal harmonies you'll hear.(8.75/10)

4. "Two Steps Back" (2:51) I feel certain that this one should have been a major hit back in the day. Wonderful performances by all musicians but none more than Ann Steuart. A top three song for me.(9.25/10)

5. "Help Me Find Myself" (4:19) harnassing a bit of the Country-Western twang in this one gives it a little more of an American (or Irish) feel to it. The rather straightforward folk ballad feel is also different from most of the album's other songs. Nice vocal arrangements for the choruses. (8.6667/10)

6. "Nobody's Listening" (3:30) this one must have been very informative and inspirational for the work of Tracey Thorn and Ben Watt as it sounds very much like something off of Tracey's 1982 solo album, A Distant Shore as well as a few songs off of their debut Everything But The Girl album. (8.75/10)

7. "Willow Tree" (3:20) jarringly different from anything else before or after this song, there is an eerie sci-fi free-form jazz soundtrack feel to the opening minute of this. As the guitar, flute, double bass and horn establish the contextual field for the multi-voice singing to come some sense (and beauty) comes out of the chaos. Wonderful play with nuances within minor chord progressions. (8.875/10)

8. "Forest" (3:34) John in lead vocal among guitars and jazzy winds. When Annie takes over for the second verse, the sonic field is much more simplified--with no orchestral embellishments until after her singing when Danny T's bass, the orchestral strings, and Annie's own flute flit and dash among one another. John and Lyndon take on the third verse as Annie continues adding her flute to the mix, but then all three participate in a kind of PETER PAUL AND MARY triune for the final verse. (8.75/10)

9. "I See A Man" (3:00) feels and sounds exactly like the previous song's music with a different vocal over the top and different embellishments coming from individual orchestral instruments like cor Anglais, glute, and horn. Annie drops her flute for vocal assist in the third verse--her independent vocal woven between the voices of the lead male in a kind of rondo fashion. Very creative! (8.875/10)

10. "The Lady's Changing Home" (4:36) a little more 1960s rock feel to this one--especially in the effect used to treat the lead male voice. Very cool (surprising and unexpected) chord progressions throughout. This could rival anything The Mamas & The Papas did. Perhaps a little more radio and rock oriented but it sure adds a lot to the diversity of the album! My third top three song. (9.125/10)

11. "Madeline" (4:03) a guitar instrumental for solo guitar styled in a nearly Baroque or Victorian fashion. (8.66667/10)

12. "Kew Gardens" (2:18) a pleasantly bucolic finale for this beautiful album. Nice three-part vocal weave though nothing in the song really reaches out and grabs the listener. (4.3333/5)

Total Time: 41:36

A collection of very polished folk original songs that certainly leaves one feeling quite content and pacified. Usually a highlight of any album, the bass play of legend Danny Thompson is surprisingly tempered and copasetic.

B+/4.5 stars; a near-masterpiece of very finely-crafted pop-oriented Folk Rock--something any Prog Folk lover would love to add to their music collection.