ACCOLADE

First album from this English folk quintet that easily accommodated symphonic arrangements in their music as well as giving us some splendid psychedelic moments. While the music rested mostly on the two guitarists (Giltrap and Partridge), it is clear that most of their embellishments came from sax & flute player Cresswell, but also some vibraphone, from lead singer Partridge. Graced with a bizarre bucolic collage, it was released on the UK Columbia label, but received a US release as well.

Their debut album is made up of mostly shorter folk-rock songs (inferior to 3:30) except for three notable tracks, including the superb epic album-best Nature Boy (with its lengthy vibraphone solo) and the 12- mins+ most-challenging Ulysses (with its unusual phrasings and bowed bass, wild flute and strange drum patterns) and to a lesser extent the almost 5-mins Starting All Over, Again. Some of the trickier guitar parts are due to Gordon Giltrap, and it's no doubt that Accolade was probably not room enough for him to last more than one album.

In general, all off their shorter songs are lying in the folk rock realm; but never afraid to foray a bit in jazz, in rock and receiving lush string arrangements ala Moody Blues. Yup, TMB have been mentioned and it's quite understandable why: Cresswell's flute, Partridge's vocals and many of the band's arrangements are a direct inspiration of the mythic TMB. A few things do allow Accolade to have their own sound, among which the vibraphone (when in use) or the stand up bass, especially when it is bowed (as in the epic Ulysses). So in short, while a bit derivative, Accolade's debut album still manages its own personality and enthrals this old pagan of a proghead, as he's discovered yet another unearth early 70's gem.

As far as I know, neither of their albums have seen a Cd release (neither legit or boot), and it's a bloody shame because their superb psych-prog folk rock deserves much more sunlight than in its "obscure curio" status procures it.

This is one of those albums that, like Incredible String Band’s ‘The 5000 Spirits or the Layers of the Onion’ or the Pentangle’s debut, helped really define the understated range of progressive folk music in the late sixties; this despite becoming a rather obscure and little-known bit of the genre’s history. The nine all-acoustic tracks showcase a style of jazz-tinted folk that incorporated some of the finest nuances of singer-songwriter stylings, rock tempo, jazzy improvisation and British folk into something that had little parallel in its day. The result is an album that grows in appeal with every listen even forty years after its release.

One thing should be noted though; this was not a band made up of grammar school chums or unknown amateurs. In fact, virtually everyone in the band was an established musician of some merit prior to its formation in late 1968. Guitarist Gordon Giltrap had already released a couple solo folk albums and was on his way to a lengthy and prolific career. Founder Don Partridge had been (and would become again) a street musician who had to his credit a couple of unlikely hit singles on the late sixties British charts (“Rosie” and “Blue Eyes”). And bassist Malcolm Poole, who would replace original bassist Eden Abba (more about him later) somewhere between the beginning of these studio sessions and the band’s second album, was an alumnus of the Artwoods, a mid-sixties blues-rock band that included future Deep Purple keyboardist Jon Lord and Ron Wood’s older brother Arthur in its lineup. Drummer Ian Hoyle was a relative unknown but would go on to appear on at least one Wizz Jones album, and flautist/ saxophonist Brian Cresswell appears to have been the only formally educated musician in the group.

I’m not really clear on the background of the band’s formation, but there was clearly an attempt with their music to jazz-up (literally) British folk music with some rock and varied arrangements, while at the same time keeping a focus on acoustic instrumentation and storytelling lyrics in the finest tradition of British and other Anglo folk music. The net result, like I said before, will grow on prog folk fans with repeated listens.

One band I would point to as appearing to have been influenced by this group’s music is the modern Greek folk band Will-o-the Wisp. That band’s vocalist Aggelos Gerakitis bears a striking resemblance to Accolade’s Partridge, and their cover of bassist Eden Abba’s original “Nature Boy” reinforces my suspicion that at least a couple members of that band have this record in their collection.

Speaking of Abba, his song “Nature Boy” appeared for the first time (to the best of my knowledge) as a Nat King Cole single in 1948. It has since of course been covered by scores of artists, has appeared in numerous films and television series, and became the title of a biography about Abba’s life written shortly after his death due to an auto accident in 1995. There’s a fascinating person if you ever feel like digging into his history.

The most interesting thing about the tracks on this album is the palpable amount of familiarity you feel with them even on the first playing. From the opening “Maiden Flight Eliza” with its lively flute and West Coast harmonizing, to the closing languid ballad “Go on Home” and its almost America (the band) sounding peacefulness; this album is full of comfortable, comforting and casual folk music imbued with just enough modern touches to make it still palatable years after its initial release (and possibly even more so considering how little impression it made back in 1969/1970).

Top tracks are without a doubt “Nature Boy” and the lengthy, rambling folk pseudo-biographical sketch “Ulysses”. This album and these songs could never be made today; only the diversity and free-thinking air of the times allowed them to come into being even then, and frankly too few music fans of those times appreciated the simple and sincere beauty of these songs even then.

I don’t suppose this qualifies as a masterpiece, but it certainly deserves recognition as one of the seminal works of the progressive folk genre, and I suspect it is much more well-known to many modern folk musicians today than it is to fans of their music. Well worth seeking out, and highly recommended to prog folk fans of nearly every stripe, but near-essential for any serious prog folk lover. Easily four stars.

peace

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