ACCOLADE

Seasoned folk guitarist Gordon Giltrap tries his hand with a Folk Rock ensemble. I don't know how he got credited with participation on this project, but seasoned American folk artist Eden Abba (1908-1995) née George Alexander Aberle aka "eden ahbez")--who would have been 62 years old at the time this band formed--is sometimes listed as one of the original band members. Being a collection of otherwise all-British street-performers ("buskers"), I find this unlikely; it is more likely that ahbez (here "Abba") was mistakenly credited because of his songwriting copyright on the band's most acclaimed song here present, "Nature Boy." Even the album cover of the original vinyl release shows Malcome Poole (photograph and notes) as the bass player.

1. "Maiden Flight Eliza" (2:42) catchy guitar riff from Gordon Giltrap sucks one in and lets the listener know that these musicians are serious. The flute and vocal work keeps you engaged. (8.875/10)

2. "Starting All Over Again" (4:45) Excellent and idiosyncratic lead vocal performance (from someone other than the singer of the opening song) as flute and multiple guitars, hand drums and double bass, hold down the fort beneath. Another construct that betrays a little Country&Western/bluegrass influence. (8.75/10)

3. "Prelude To a Dawn" (3:10) a gentler, more smoothly flowing musical foundation makes for great support for a pacifying flute lead. Though the song's construct seems ripe for a lyrical vocal track, none is forthcoming. Though I like the addition of vibraphone in the second half, its performance never gets very interesting. The best part is the rapid- fire syncopated strumfest that is the chorus. (8.875/10)

4. "Never Ending Solitude" (2:36) nice weave of bass and two independently-styled picked steel-string guitars over which a folk-pop lyric is sung in a bright Dylanesque style. (4.4/5)

5. "Nature Boy" (9:35) a familiar (and Grammy Hall of Fame Award-winning classic) American song first made famous by Nat King Cole's cover way back in 1948. Originally about a group of Los Angeles-based raw-veggie eating, long-hair & bearded Naturmensch and Liebensreform movements (proto-hippies, obviously, of German origination) in the 1940s (of which Eden Abba/ahbez/Aberle was either a member or observer when he lived and worked on Laurel Canyon Boulevard), the song has been covered by many, many artists in versions covering pretty much all genres of music, including pop, R&B, and jazz. This 1970 version of the song opens in its standard pop form before turning down a side road with a blended kind of "Take Five"/"Living in the Past" three-chord merger that repeats beneath a soloing vibraphone ad infinitum à la Andrew Lloyd-Weber's "Everything's All Right" choral finish and later reprise. The motif here is extended for Dan Partridge's long vibraphone solo as well as a drum solo (performed with brushes) from Ian Hoyle. In the eighth minute the slow note play of the double bass brings us back to the opening motif over which the male vocalist, dreamy flute from Brian Cresswell, and fancy guitar work from Gordon and Dan takes us to the song's end. I like it! (18/20)

6. "Gospel Song" (3:31) solid movin' folk fare that sounds quite fitting for the British folk scene at the time. Great choral vocal performances by the men. Could've been another inspiring song (and album) for American expats living in London at the time, AMERICA. (8.875/10)

7. "Calico" (3:03) another solid if not too exciting or ground-breaking song with male tenor singing over solo acoustic guitar for the first verse before being joined by the rest of the band--who immediately transport the song's tempo into a faster, more upbeat pace. (8.75/10)

8. "Ulyssees" (12:32) nice chord progressions and instrumental palette (similar to an acoustic variation on THE DOORS "Light My Fire") turns into a more standard Folk rock song à la JOHN SEBASTIAN. Even some Pete Townsend chord progression imitative of "Pinball Wizard" in a bridge in the third minute. Bowed bass work in the return to the "Light My Fire" passage in the fifth minute. Despite the several borrowed themes and riffs, this song is quite solid and likable. (22.25/25)

9. "Go On Home" (2:37) beautiful song--with some gorgeous melodies (and rather simple music). Kind of like the band's goodbye song from the live stage performance. A top three song. (9/10)

Total time: 44:31

The band is surprisingly tight, playing not-uncomplicated songs--even the choral vocal arrangements/performances are top notch--the music often reminding the listener of THE MOODY BLUES Though a little late in terms of helping to define the evolving new sub-genre of Prog Folk, this is definitely an album worthy of recognition and praise.

B+/4.5 stars; a near-masterpiece of very-well-recorded and performed Folk Rock music