Les Olivensteins-Ep

December 2, 2011

Les Olivensteins

EP

http://www.mediafire.com/?mlehhgf3nyh

I must resist the need to be verbose here since there is not much to go on here. All I know is that Les Olivensteins recorded a fairly amazing ep in 1979. I know they are from France and that this ep seems like a sturdy bridge from the utterly brilliant 70s French rock comp Tetes Lourdes(which can be found on this site) to its punk rock cousin. All I know is both releases emanated from France and never fail to capture a sense of urgency and sloppiness that is lacking from music today. Totally catchy with a nasty streak a mile wide, Les Olivensteins is okay with me anytime. Both Tetes Lourdes and this ep give me hope there is some undiscovered golden age in 70s French music that will someday be discovered by your truly. Please school me if I am deaf, dumb and blind to something brilliant beyond Metal Urbain.

Strawbs-Grave New World

December 2, 2011

The Strawbs

Grave New World (A&M 1972)

http://www.mediafire.com/?q2ezq173o11kxr7

Amidst all of the psychedelic wayfarers of the 60s England, the Strawbs have always gotten lost in the shuffle of a deck stacked with Pink Floyds, Beatles, Cream, Incredible String Band and countless other seminal influences on modern music. All you need to know is that I discovered this album through the recommendation of my mother-in-law. Yeah, she’s a pretty cool mother-in-law to be sure, but it points to how their musical pollination never quite spread beyond a long-forgotten garden visited by far too few souls. That’s a shame because I’ve been dipping my toes into their pool and hate that they’ve become a criminally neglected footnote to the careers of original member Sandy Denny and later addition Rick Wakeman. Personally, I am enamored by the prospect of any band that combined the opposing viewpoints of the folks who sparked Fairport Convention and Yes, even if they contributed to different eras of the Strawbs. Sadly, the names of Denny and Wakeman obscure the legacy and immense talent of singer/guitarist Dave Cousins, who is the foundation of the band.

Cousins’ voice kind of reminds me of a folksier, gentle version of Cat Stevens, but with a bit more passion, grit and urgency. Although the instrumentation of Grave New World straddles the line between pastoral English folk and the orchestral bombast of 70s prog, Cousins grounds it all with a earnest, pleading voice that wouldn’t sound out of place on a lonesome folk platter lost to general obscurity. His timeless voice and knack for imbuing each track with a sad, weary pathos can be derived from his time playing skiffle and obsessing over the heartbreaking catalogs of Leadbelly, Bob Dylan and Elizabeth Cotten. Most important was his devotion to Flatt and Scruggs who inspired him to pick up a banjo and dedicate himself to its mastery. Don’t expect any hoedowns and juke joint paeans to wayward lovers since the Strawbs were a far different band by the time Grave New World was released in 1972.

Grave New World and its predecessor From the Witchwood are where the Strawbs really hit their stride. Folks tend to fixate on their debut with Sandy Denny, but it’s folk-rock sounds simplistic in comparison to their flights into the pretentious heavens of prog. Don’t fear–this is no Tarkus or The Lamb Lies Down on Broadway. Grave New World may be the most folksy, earthy prog album of the 70s and avoids the conceptual excess and pompous pitfalls of their brethren. At it’s core, Grave New World is 60s English folk album concerned with “lords of the forest”, changing seasons and the decay of true love. However, Cousins dalliances with prog enervates these tried and true themes and the familiar becomes electric. Just take a listen to “The Flower and the Young Man” and tell me that it doesn’t deserve a place besides “Calvary Cross” and “Come All Ye” in the sweepstakes for the penultimate English folk tune deserving of epic status. Awash in warm, buzzing organ, perfect harmony and a beautiful progression from serenity to frenetic guitar soloing, this song just nails everything I love about this era in music. Even the lyrics paint a perfect picture:

While seasons change in timely way
The salt sea ever flows
Where open moors lie cold and bleak
A single flower grows.

Though winter snows fall deep and long
The flower grows the while
The weary traveller passing by
Feels warmer for her smile.

Sunshine and the tender flower
Both melt the young man’s heart
But he who lingers waits his turn
Must learn to play his part.

Through summer days of warmth and love
The young man tends his flower
But blinded by their colours bright
Heeds not the passing hour.

The autumn trees once clothed with gold
Now frayed and sadly worn
The flower bids a chill farewell
The young man’s heart is torn.

While seasons change in timely way
The salt sea ever flows
Where open moors lie cold and bleak
A single flower grows.

It’s a classic tale that wouldn’t sound out of place as a traditional folk tune recorded long ago, but their instrumentation places it in a different musical context and it is simultaneously a twist on time honored themes and a declaration of their individuality and unique take on what others fumbled or rehashed. I’m not saying Grave New World is some game changer that will leave you slack jawed, but is peppered with bouts of genius that deserves to be treasured by more than my mother-in-law and I.