Private       Allister Thompson : Compilation (Can,2001)****

I rarely heard a new singer-songwriter good over the whole line and sounding poetic too.
Lawrence Woolfe made a review of this highly recommended compilation :

"Allister Thompson is a Canadian singer-songwriter who is not afraid of the big themes that many in the s/sw genre seem to ignore in favor of introspective self-obsession. Now this collection is both a surprise and a revelation. All the voices and instruments are by Thompson, using guitars and various electronic, ambient textures. The songs are melodically strong and beautifully sung. The big themes (the purpose of life, inhumanity alienation,our effect on the planet by our uncaring ignorent attitude towards the environment, mysticism and so on) are dealt with in a quiet, intelligent manner rather that passionate hysteries, and thus come over powerfully in a meditative way. Quiet honestly I was overwelmed by this CD from my first listen. From the opener "Judgement Day" through such songs as "21st Century Anthem" with rich and frightingly relevant descriptions of humanities current predicament-having to get used to the loss and betrayal of dreams of utopia, of hope, of a soulful existence. "Galaxies turn" reflects on how small we are against the wondrous immensity of space and of course what it and we mean to each other. Other noticable tracks include "Sleepless", "Pastorale", "When we were young", "Seperation" and the most folk influenced song from this CD "Distant Voices", and "My Name is Death".  There isn't a bad track on this CD however and I would recommend anyone to check it out -anyone with a human disposition that is."  L.Woolfe

Reviews from his other releases (without grading) by Lawrence Woolfe :

Private          Allister Thompson : Distant Voices (CAN,2001?)***

"Having discovered A.Thompson through his recent compilation CD (released 2002 -see first review-) I was more than curious as to how his debut CD "Distant Voices" would sound having seen it described as his folkiest work. Apart from the Leon Rosselson cover "The world turned upside down", a rendition of Sandy Denny "It'll take a long time" (,an excellent sensitive version) and a traditional song "the blackleg miner" which was part of Steeleye's Spans repertoire in the early 70's, all the songs are written by Thompson. A very fine collection of songs they are too. The songs are more singer songwriter with folk references than folk, but then no matter how one describes them, they certainly look back to a time (early 70's) when acoustic backed singers with stories to recite were an accepted & respected part of the musical landscape. This is a solo collection -no other musician involved, with acoustic & electric, percussion and the textural effects. Thompson sings with a quiet undemonstrative sureness that ensures that the contents are clearly projected. Songs that stand out to me are "St.George's Hill" (follows on from the Rosselson song perfectly), "Pastorale", "Soldier (El Alamein"), "The drowned girl" and "My name is death" but there isn't any track that sends me rushing to fast forward. From the start to finish it maintains interest. As an aside, there are too many examples of folk s/s music where the words are everything and the music is basic and bland. In this case the music and lyrics balance beautifully. Incidentally by making a connection with the seemingly halcyon days of folk and singer-songwriters, I do not imply that this cd is an anachronism. On the contrary. In fact this cd is healthily relevant to us now, with its consciousness and subject matters, its politics, its sense of humanity, its stark haunting musical beauty. Thoroughly recommended. " L.W.

Private           Allister Thompson : Astronomy (CAN,2001?)****

Thompson's second cd follows quickly from Distant Voices and was recorded between April and June 2001, so there must have been material stockpiled awaiting recording. Certainly the folk influence is minimal and the sound firmly singer-songwriter with ambient/spacy atmospheres. Big themes  as the title suggests are explored and mused over in a very approachable manner with wonderfully emotive melodic singing against acoustic and electric guitar forming the core of the whole cd. Notable tracks are the superb opening track "Judgement Day", "Sleepless", "Seperation", "The new age" and the bonus track "When we were young". Several of the songs appeared on the compilation album (reviewed elsewhere) and it should come as no surprise that this has become overall my favorite cd. For contemplative souls everywhere, anywhere." L.W.

Private          Allister Thompson : The future has passed(CAN,,2001?)**°

"Everything I've already said holds true by and large with the 3rd cd, recorded late summer/early autumn 2001 (3 albums in less than a year !). Strangely enough for a collection of songs that contains Thompson most distinct and original contemplations on his quest for the meaning in life, the environment we have created and destroyed around us ("nature, city scapes, our place beneath/ in the vast scheme of things") it also contains a couple lighterweight musical efforts which whilst supporting the lyric content I can quite happily live without musically namely "I own you" and "hello I am famous". There is also for the first time use of drum machine which I find less than satisfactory on "blind statue" (although I like the idea and the timbre of the voice, initially reminding me for some reason of Roy Harper) and " the great engineer" (again I like the idea, the music and voice dub from the late Richard Burton and the use of Latin text) but quibbles aside, there are a number of majestic magnificent musical and lyrical statements. Check out "21st Century Anthem", "Galaxies Turn", "The strength of two". L.W.

Website : http://www.transmedia95.com/astronomy/ Contact : al-ter@sympatico.ca
Review page 2 for Singer-Songwriters releases
in cooperation with the Singer-Songwriterprogram "Mark & The Woolfeman"

A FEW MORE SINGER-SONGWRITERS WITH LATE 60S/EARLY 70S INTERESTS/ASSOCIATIONS

listed here : David Wiffen, Gordon Giltrap, Brian Gladstone (2 releases),
Allister Thompson, Davy Graham & Holly
Cometrec.         David Wiffen (Can,1972)**°'

David Wiffen reminds a lot of Tim Hardin, and his voice of David Neil. It's a very beautiful voice. The slower tracks are recommended. While in the UK they have the folk in the US they have country. But I don't understand why so many good singer-songwriters still have to fall back on this country music too. While the slower tracks are terrific, I can't appreciate the country entries so easily (in 60's country I've only apreciated so far some Graham Parsens with Emmilou Harris for instance and some Eric Anderson at his best). This item is already worth tracing for the first two tracks.

Label : www.cometrecords.com  Label entry : http://www.cometrecords.com/robo10/robo.exe/DettaglioProdotto+AK-097
La Cooka RatchaGordon Giltrap : Troubadour (UK,1997/2001)**°

Most artists, guitarist from the seventies 1. began to play electric after a while and after some time began to loose their acoustic / intimate foundation ; may be they even desperately searched further for a more commercial acceptable sound in times with other interests than acoustic music or  2. stayed in ease, somewhat on the background, kept / or tried to keep their skills alive, where their style even might have developed into a more advanced playing. From that last category Bert Jansch and John Renbourne are certainly stilll interesting to trace for also their most recent releases (- John Renbourn for instance, after John Renbourn's Group delivered the beautifully guitar album "The Nine Maidens ****, and Bert Jansch made some nice solo albums the last few years too), but it seems that also Gordon Giltrap developed his technique. Some soft arrangements, done by Del Newman (Beatles), make the music at some tracks only seemingly somewhat richer, but at the same time these arrangements seems mostly putting an unnecessary veil over the music. Still it contained a very relaxed, mood with a nice and friendly atmosphere and warm character.
Hearing the acoustic version of the album (which is the second CD on this reissue) is surprising. The musicality now enfolds itself much more. It's refreshing to hear the clearly composed sound, without any adds. Here the title 'troubadour' fits best, for the guitar style is more often very troubadour like. So it was a very good idea to add this version here. It'll be my preference. Compairng both versions it's even more clear how the soft approach in the arrangements did not make the music richer at all, but made every idea in it more vague. Giltrap's ideas are already not so very clear, and his approach has its certain softness. Therefore the new core version is very welcome and might be even closer to the essence.
Gordon Giltrap did not always make guitar albums. His album "Visionary" for instance, (based upon the works of W.Blake), - possibly a good starter-, was very much arranged with his band.

Webpage at : http://www.giltrap.co.uk/
Short introduction : http://www.speakingvolumes.co.uk/giltrap.htm & http://www.fishman.com/Artists/GordonGiltrap.htm, and a bit bigger introduction at http://www.bestguitarfest.com/ggiltrap.html &
http://www.newcastleoperahouse.com/gordon_giltrap.htm
Most albums available (with information) at http://www.voiceprint.co.uk/artists/ggiltrap.htm
Some albums at http://www.kneeling.net/pages/ggidx.htm
http://www.heathcliffmusical.com/gg.html
Article at http://www.makehits.co.uk/art006.htm
Review of this album : http://www.hometheaterhifi.com/volume_5_3/popmusicpart6july98.html

La Cooka Ratcha  Gordon Giltrap : Under this Blue Sky
    (featuring Hilary Ashe-Roy) (UK,2002)**

This album refers to the success of the Troubadour album. The flute player doesn't give it an extra perspective really. In the contrary I don't even like so much his melody waving, not contributing any fundaments. The Bert Jansch contributing track however is very good and a few other tracks worked out somewhat well, but most of it lacks depth in motion and inspiration compared to "Troubadour". However this new album is worth mentioning because it might still  appeal to the lovers of the "troubadour" album. It's relaxing music mostly, which not only for Gordon himself but also for unfamiliar listeners this might be music that opens up memories (-his booklet is full of pictures of friends, remarks about occasions-) without recalling them with specific descriptions or transcriptions.

This item : http://www.voiceprint.co.uk/cookaratcha/lcvp150.htm
More info : http://www.giltrap.co.uk/biography.htm
Private (BTT)Brian Gladstone : Psychedelic Pholk Psongs (Can,2001)*°°'

Now this is a difficult one. First of all the cd starts with a humoristic insane naïve stupid long hair hippie cowboy song. The finger picking is, as well as on the second track very fast and well crafted, reminding the banjo. With "Flashing before my eyes" I think : "if Clive Palmer was a cowboy it might have sounded like this". Ragtime like humour can be find on "I like me", with fast blues chords, fingerpicking and some kazoo. Most of the tracks first to be followed are nice psychedelic folk songs (male/female duo, acoustic guitar, some flute,..) and they sound exactly like we, collectors of psychedelic folk would like to hear. It was confusing to hear these differences at first hearing but after repeated listens I had much less difficulties with these contradictory inspirations. Brian plays the guitar well and he has good ideas. On the few solo guitar tracks his style seems to be a combination of folk fingerpicking / blues and ragtime.  The second half of the cd combines often the style of the psychedelic folk with a more boring stoned way of singing country folk songs as lullabies for stoned hippies or nursery rhimes for the mentally insane. Luckily most of this is still drenched with spacecakehumour.
I once heard another so called psychedelic ssw so called collector item influenced by country : Peter Grudzien with "Unicorn". That one contains incredibly bad ssw and singing, so bad that it becomes almost unique and very enjoyable, but then for me still within the category of humour. Country is often used as genre to express by so many mediocre artists. Brian Gladstone however who definably has some country influences at a few more  tracks succeeds to be enjoayable even there. That means that the second cowboy song "Cowboy of the West" and the blues song (I mostly hate blues too) I am able to accept after a few hearings within this concept. Only the long track "The highway man" is somewhat boring. Some of it need a bit more time to get into, another part is more easily appreciated.

Two of the tracks to be played : "Save the Wolverine" (click for sound sample), "Do you think that you're Dorothy" (click for sound)

Website : http://www.backtothedirt.com/  Contact : brian@backtothedirt.com
Articles : http://www.torontofingerstyleguitar.com/gladstone.html
& http://www.winterfolk.com/WFIV/Artists/BrianGladstone.htm
Soundfragments at http://www.efolkmusic.com/viewartist.asp?artist=Brian+Gladstone
Other reviews : http://www.mnblues.com/cdreview/2003/briangladstone-psychedelic-jc.html
& http://www.rambles.net/gladstone_psych01.html
& http://songwritersunite.com/view.php?pid=289

Private (BTT)Brian Gladstone : A Time for new beginnings (Can,2005)***°

Brian Gladstone for me over his career has some elements which I consider a bit of wrong, but not in a (too) negative sense. First of all he has all qualities of being a hippie (like believing in peace and in peace songs : he even published a compilation under this subject, a collection from various wishing-(all)-well characters), but at the same time he most often doesn’t sound like a real hippie. His first song is “a song for everyone”… I would prefer someone who had made a song like “this is not a song for you” instead, which would be a cynical philosophy that would fit me better. I had a thought that nobody would feel special with a song for everyone. It makes it a still warm-hearted crippled-minded hippie song for the sick and the poor and the lonely, and a friend of his. There’s even more happy bluegrass-country song with lyrics like “the sun is in the sky, with a rainbow in my pocket..” there’s no doubt for the twinkle in the eye-energy even when Brian’s voice sounds here like from a tired man wining, all the opposite is there. No wonder the guy’s called Glad-stone, or is it gladstoned ?. Something similar happens on “For a Day in the park”, also a great song I see already (seriously) covered for the Muppet show ; I quote: “I sing for you a ballad, as you eat potato salad, for a day in the park” which I imagine covered favourably with a potato salad and some Tupperwares singing as a background chorus. Here some kazoos on the background confirm the enjoyment. “I’ll try” is a really nice harmony song with background chorus, in remembrance of some fine ‘60’s days. Also “The Flags of freedom” (-another title that could be so incredibly wrong-), which is a song questioning the basics of American democracy model in the eyes of a hippie, has a surprisingly really nice sound. By this time I must admit that the album surprised me really. With “Estrogen”, a nice guitar duet, after this nothing much more can go wrong for me. “The Office Tower Blues” is a song that could easily kill each blue Monday. A few quotes: “I walk the walk and talk the talk when everyone’s around, but from nine to five I count the seconds and the bucks” and “I leave anyone on hold so my coffee won’t get cold”.. “I don’t want to get promoted but with bad work there’s a chance”. For me that’s great (recognisable for the descriptive human conditions) songwriting in a bluegrass fun-making-with-life style. More great songwriting and a great song can be heard on “couch tomato”. I cannot help it and quote a bit more : “Early in the evening…just about twilight time my phone starts ringing and the hormones are singing, I’ve got a pretty babe on line”… “get a sweetie couch tomato, she really make a man out you and me too”.. with banjo’s and so, followed by a great old instrumental, in a ragtime polka style. More old time fun, a bit up tempo, is “Nag”, complete with washtub bass and all. Similar slightly fun-making country with nice banjo and dobro, bass and old car sounds is "Wally's Pre-Owned Automobiles". The song “A Time for new beginnings” is already much happier than how the album started (but where seemed to have wished more deeply). With the best of how a hippie cowboy feeling can feel, I notice he is really so happy with the girl on backing vocals. “A year in the valley” is a great last concluding song for this album with an overall nice and full-warm sound.
I was afraid after the first album, and after the peace songs collection, where this album would have lead to, so I’ve put this album aside for almost half a year before I really tried.  And I must say the quality and success almost overwhelmed me with surprise. Really enjoyable !!

Audio : http://www.cdbaby.com/cd/briangladstone4/from/radioio
and here
Website : http://www.backtothedirt.com/ 

See playlists of a Singer-Songwriters Radio Program in cooperation with Lawrence Woolfe.










President RecordsDavy Graham & Holly : Godington Boundry (UK,1970)*°

Different from the American John Fahey, who clearly broadened the path to make new guitar music with foundations in all essences of old styles, Davy Graham on his turn, was more vastly founded in older styles and in interpreting temporally traditions (like jazzguitar, blues, etc.). Graham’s influence of renewal and fresh sounds therefore just seeped through in bits. His compositions are well played without much energy towards the future. On this release he plays recognisable tunes, often with jazzy rhythm guitar, or jazzy touches, and a few more times in a somewhat warm, still simple blues style. The band accompanies in a quite predictable typical 70’s way. “Dallas rag” is one of his contributions to raga guitar, simple, minimal and repetitive, as one of his small drops of one of his small creative ideas. On three or four tracks is Keshav Sathe who later became tabla player for Magic Carpet and Chris Thompson. Holly Gwyn sings soulfully on “’round midnight”, again in a relaxed jazz way. “Mother Nature’s Son (from The Beatles) on the other hand became like a cosy family folk song. Graham’s interpretations are structured in the traditional and in 70’s contemporary bluesy jazz. The relaxed tempered mode he plays in surely is attractive and enjoyable.

Homepage : http://www.daveygraham.org/
Label entry : http://www.president-records.co.uk/code/cata/graham_holly_prcd160.htm
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