Ramon Morris - Sweet Sister Funk 1973

Ramon Morris' lone Groove Merchant date remains one of the most potent fusion records of its time. An uncommonly soulful and nimble tenorman, Morris proves ideally matched to the jazz-funk idiom, and Sweet Sister Funk achieves a near-perfect balance between its mainstream and experimental leanings, forging a series of fierce grooves as imaginative as they are accessible. Recorded with a crack supporting unit including trumpeter Cecil Bridgewater and percussionist Tony Waters, the album radiates with positive energy -- it's a genuine shame Morris never again recorded as a leader, because the mind reels at the possibilities his muse might have pursued. AMG.

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Sri Chinmoy - Meditation Sky 1976

In this album, originally recorded in the 1970s, Sri Chinmoy plays meditative compositions on his favourite instrument – the Esraj. The Esraj is a relatively unknown instrument outside of India, but Sri Chinmoy loved its soulful and haunting tones.
Throughout the last 43 years, Sri Chinmoy has tried to be of dedicated service to mankind through a wide variety of elevating activities and worldwide initiatives. These include music, art, literature, sports and humanitarian service.
Through these and other fields, he tries to make an unconditional and soulful contribution to the individual and collective development of humanity.

The basis for all these activities is his inner life of prayer and meditation. These are the source of his feeling of oneness and love for God and for humanity. Sri Chinmoy feels that since God is in each human being, each person has an unlimited capacity. Combining dynamic, creative and soul-elevating activities in our inner and outer life is a way to make spiritual progress and lead a more fulfilling life here on Earth.

In this CD, which originally came out as an LP in the early 70′s, Sri Chinmoy plays the esraj, a lyrical Indian instrument, and sings accompanied by a tote-a-tune. While playing music, Sri Chinmoy meditates, and is able to infuse the music with a very peaceful, soothing and sweet vibration. This music is, therefore, very conducive to meditation. Meditation enables us to get in touch with our innermost, highest reality. When we are able to go deep within, the qualities of Peace, Light and Bliss, which come from our soul, permeate our whole being, and give us the opportunity to grow consciously into a more blossomed consciousness. From this perspective of an awakened life, we can serve humanity more, in accordance with God’s Will.

This process of inner growth has been descriibed as an “unfoldment”. It feels literally as if one is “blossoming” inwardly. Music, especially meditation music, has the capacity to help us to go deep within and become one with our true, highest nature. We thus establish a friendship with our innermost self, with God.

Meditation helps us to bridge the gap between Earth and Heaven, between our inner life and our outer life.

We hope that this musical offering by Sri Chinmoy will be of service to all Truth-seekers and God-lovers on their way to the Ultimate Goal.

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Moloch - Moloch 1972

Formed in Memphis in 1968 by Baker, who'd fronted local faves The Blazers, the initial line-up evolved to include drummer Durham, who'd been with The Group and The Rapscallions. Produced, written and arranged by Don Nix (ex-Mar-Keys and Paris Pilot) in Memphis, Moloch is an excellent blues rock album with some sound effects, noises and superb acid guitar solos by Lee Baker. Their single was recorded after the album with a later line-up and is extremely rare.

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Screaming Gypsy Bandits - In the Eye 1973

Screaming Gypsy Bandits became well known in the region with Caroline Peyton on vocals. They opened for many big-name acts in the early 1970s, including a 1970 date with Captain Beefheart and the Magic Band at Cincinnati's Ludlow Garage. They recorded an LP that was released in 1973, "In the Eye". Interesting album. Give it a listen.

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Paulinho da Viola - Nervos de Aço 1973

Paulinho da Viola was born in a musical environment. His father, the acoustic guitar player (violonista) César Faria, worked in the renowned choro group Época de Ouro, whose leader was the legendary Jacó do Bandolim. Those grave gentlemen -- chorões, that is, preservers of the long tradition of choro -- appeared at Faria's house every week, and Jacó, with his baritone tone, always demanded complete silence for their rehearsals. Little Paulinho da Viola grew up listening to those wonderful sounds, a true part of history of Brazil, and these situations of identification formed his character for his whole life. Always a combative supporter of true, native samba and choro, he never gave up his ideals to meet commercial success. Unexpectedly, this formula of sincerity worked well, and even if he never had any problems selling out the entire printing of his records, he beat his own standard with 1996's Bebadosamba, which brought him his first gold record, with 100,000 records sold; a great feat for completely anti-commercial, pure samba-of-the-hills music.

Facing the opposition of his father, who wanted him to follow a "serious profession," young Paulinho da Viola learned by himself his dad's instrument, the violão. He tells this story in his samba "Catorze Anos." Later he would learn fromZé Maria, a renowned composer and friend of the family.

In 1959, he meet an important figure of Brazilian popular music, Chico Soares, nicknamed Canhoto da Paraíba. Canhoto, or "Left-Handed," was an amazing violonista who played with the strings set as if for a right-handed player. He heavily influenced the young musician to deepen his apprenticeship, and Paulinho da Viola soon came up with a choro composition, which was unrecorded.

His first samba, from 1962, "Pode ser Ilusão," unrecorded as well, came when he was already frequenting the samba school União de Jacarepaguá. This school is not as traditional as the one he would join later, Portela, as a composer, but it was convenient. It was located in the same neighborhood as his aunt's home, where he'd spend his weekends; he'd be allowed to have more freedom regarding going out at night than he'd enjoy under his father's hand.

Even then, he met important sambistas and composers there, like Catoni and Jorge Mexeu. They stimulated him to go further in his involvement with music, and in the next year, invited by his cousin Oscar Bigode, who was the drums director (diretor de bateria) for the Portela samba school, he changed for this one.

In the introductory performance, at the Nozinho's bar, Paulinho met great names of samba: João da Gente, Jair do Cavaquinho, Zé Keti, Casquinha. He showed his samba "Recado," for which he only had made the A part. Casquinhaliked it, and made the bridge in the spot. In the same blow, Paulinho was accepted as composer of an important samba school, and had as partner a renowned creator.

In the meantime, he continued his studies in accounting and to work as a bank clerk. One day, he had to attend a client who was the poet Hermínio Bello de Carvalho, a person viscerally linked to popular music, gatherings (rodas) of choro and samba, etc. Paulinho had already met him in some of those rodas, and they became close friends, with Hermíniobecoming a partner and passionate instigator of his career.

Still in 1963, Hermínio introduced Paulinho to Cartola, who would be the great influence in the earlier style ofPaulinho's career. At this point, the Zicartola (restaurant and showroom hosted by Cartola and run by his wife Zica) was at full steam, and Paulinho began to play there, either violão or cavaquinho, accompanying other singers and composers or himself, interpreting other people's songs. Then, Zé Keti urged him to show his own compositions. So, from 1964 on, he would give his compositional work real impetus.

The next year came with two important marks on his career: the Rosa de Ouro musical, and the recording of the LP Roda de Samba. The show was directed by Hermínio Bello de Carvalho and presented in Rio, São Paulo, and Bahia. Singers Clementina de Jesus and Aracy Cortes were accompanied by the Cinco Crioulos: Élton Medeiros, Nélson Sargento, Anescarzinho, Jair do Cavaquinho, and Paulinho (who had just received his nickname "da Viola" from Zé Keti and journalist Sérgio Cabral). The LP, originally meant to be only a tape for suggestion of repertoire for singers, was received with interest by recording company Musidisc, which decided to record the album. It was done by the Cinco Crioulos group (with the exception of Nélson Sargento), which, reinforced by Zé Keti and Oscar Bigode, was renamed A Voz do Morro (The Hill's Voice). Amongst the songs there were already three by Paulinho: "Coração Vulgar," "Conversa de Malandro," and "Jurar com Lágrimas."

The experience was such a commercial success that Musidisc decided to make another LP in the same year of 1965, Roda de Samba II (this one with the same formation, and with the inclusion of Nélson Sargento). Paulinho was beginning to be considered a good singer, besides being a good composer. This record contains two of his sambas, "Recado" and "Responsabilidade."

These two sincere records, oriented toward the registration of pure traditional samba music of the carioca hills, were considered the Best of Year by the critics. The whole printing of the two was quickly sold out, but Paulinho commented about having seen very little money.

This success put them on the map of the bigger recording companies, and RGE hired the Voz do Morro to another LP, recorded in 1966, where Paulinho sings his "Sinhá Não Disse," a samba de partido alto.

In 1966, he won the Carioca Carnival contest for his school Portela, with his samba enredo "Memórias de um Sargento de Milícias." In this same year, Paulinho recorded with Elton Medeiros the LP Na Madrugada, which included his sambas "Arvoredo," "Catorze Anos," "Momento de Fraqueza," "Minhas Madrugadas," (with Candeia), "Jurar com Lágrimas," and "Rosa de Ouro" (with Elton and Hermínio de Carvalho), again through RGE. Again in 1966, he won the third place in the important II Festival of Brazilian Popular Music of Record TV, with "Canção Para Maria" (withCapinam), interpreted by Jair Rodrigues, and accompanied Clementina de Jesus at the Festival of Black Arts in Dakar, Senegal.

In the next year, Odeon issued Rosa de Ouro, Vol. II. In 1968, Paulinho achieved sixth place in the I Bienal do Samba with "Coisas do Mundo, Minha Nega," interpreted by himself, which would be included on his first solo LP for Odeon,Paulinho da Viola. The FBPM of Record TV of that year brought him a situation with Portela. Hermínio had askedPaulinho to compose a song that he'd use in a musical, which was never released. The song, interpreted by Elza Soares, was called "Sei Lá, Mangueira," with Mangueira being a rival school of Portela's. Paulinho didn't expect it to pass the competition, but it made it to the finals, and Paulinho had to produce a convincing explanation to the Portelenses.

Next year, at the V FBPM, he won the first place with his masterpiece "Sinal Fechado," displaying a different profile as a composer. Here, the expansiveness and simplicity of the hills' expression gives way to a reflexive, musically more elaborate feel.

1970 brought him a great happiness, with his long, hard-to-remember lyrics for "Foi um Rio que Passou em Minha Vida" being sung by the masses at the Carnival. In that same year, Odeon issued a new LP with the same title of that song, and Paulinho produced for RGE the LP Portela, Passado de Glória, a compilation of the old masters of the school, with his father present on the violão. In 1971, Paulinho issued another LP on Odeon, paying homage to Nelson Cavaquinho through the samba "Sol e Pedra." In 1972, he issued another LP for Odeon, A Dança da Solidão, and played at the R.F.A. and in Austria with Maria Betânia, Jorge Arena, Sebastião Tapajós, Terra Trio, and Pedro Sorongo.

In 1973, with Sérgio Cabral, Paulinho created the show Sarau, performed in the Teatro da Lagoa, Rio, where he reintroduced the choro group Época de Ouro to a new generation of middle-class people who had already forgotten the wonders of choro music, his old passion. Still in 1973, Odeon issues the LP Nervos de Aço, which had sad overtones reflecting his recent separation from his wife Isa Souza Dantas.

Following eight years out of the studios, he issued, still in 1996, through BMG, the CD Bebadosamba, which sold 100,000 copies and motivated a show with the same name, acclaimed by the critics as one of the best of that year. In the same year, Paulinho issued the double CD Bebadachama, recorded live in a show at the Tom Brasil showroom, in São Paulo, together with his father. This show was awarded as Best of Year by APCA (São Paulo's Association of Art Critics). RGE reissued on CD two of his first records in 1997, Na Madrugada and A Voz do Morro. After all this, there's another important thing to say about Paulinho da Viola. He is an artisan, a cabinetmaker who had built all his home's furniture, and makes presents of his works to close friends. This is a rich path to follow for those interested in understanding his music. This spirit of craftsmanship is embedded in his songs, built singularly to satisfy his loving search for detail and expression of his culture and origins.He would only record again in 1975, with Amor à Natureza (Odeon), after Dantas' return. The next year, EMI issued his double album Memórias 1: Cantando and Memórias 2: Chorando. In 1977, Paulinho issued the LPPaulinho da Viola, and in the next year another LP under the same title. In 1979, EMI issues Zumbido, going back to compositions by traditional sambista Wilson Batista. WEA issued another LP under the title of Paulinho da Viola in 1981. In 1982, A Toda Hora Rola uma História appeared on EMI. For RCA, Paulinho recorded and issued Eu Canto Samba in 1989. Marisa Monte recorded his "Dança da Solidão" in 1994, in her CD Cor de Rosa e Carvão. In this same year, Paulinho opened the Heineken Concerts, at the showroom Plaza in São Paulo, joined by the Velha Guarda da Portela, Canhoto da Paraíba, and Gilberto Gil. Paulinho's first LP, Roda de Samba, was reissued in 1995 on CD by Musidisc, while EMI reissued in CD Paulinho da Viola [1975], Memórias 1: Cantando, and Memórias 2: Chorando (1976), Nervos de Aço (1973), and Paulinho da Viola [1978]. He had 11 of his out-of-print LPs reissued by Odeon in 1996, the year which was marked by the major event which was motivated by the show at the beach of Copacabana, during the festivities of the ending year. The show gathered Caetano Veloso, Chico Buarque, Gilberto Gil, Gal Costa, and Milton Nascimento, and Paulinho complained afterward through the press that he received three times less than the other artists, with great repercussion. AMG.

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Spooky Tooth - The Last Puff 1970

Perhaps "The Last Gasp" would have been a more apt title here. Spooky Tooth appeared to be on its last legs, and being propped up by members of the Grease Band, this record should have been merely one of those contract fulfillments, but it isn't. It's a good, solid effort that includes a burning cover of the Beatles' "I Am the Walrus." Unfortunately, Spooky Tooth didn't stay together to reap the rewards of this new combination of musicians. AMG.

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National Health - Of Queues And Cures 1978

Of Queues and Cures is one of the last and finest examples of the instrumental Canterbury sound on record during the 1970s. This somewhat sweeping claim for National Health’s second album is made not only because of the complexity and quirkiness heard throughout, but because of the presence -- quite rare in the years to follow -- of fuzz organ, here played by Dave Stewart prior to his departure from the group and the return of the arguably jazzier and less fuzz-inclined Alan Gowen as sole keyboardist. Aficionados know that the fuzz organ, as played by Stewart in this band and his preceding Hatfield and the North, Caravan’s Dave Sinclair, and of course Soft Machine’s Mike Ratledge, was central to the Canterbury sound, and although Ratledge was the groundbreaker, Stewart really pushed the envelope on this one. Phil Miller’s “Dreams Wide Awake” calms down in its midsection, but it begins with one of the most crazed organ solos put to wax by anybody, Canterbury or not. “Phil made the mistake of asking me to go a bit mad on the organ solo at the beginning of the number,” Stewart commented with characteristic Brit understatement in the liners. And “a bit mad” it is indeed, as Stewart begins his solo -- over a rocking vamp from guitarist Miller, bassist John Greaves, and drummer Pip Pyle -- with the burning tone typical of the style but escalates the mayhem and transforms the organ into a roaring, screaming beast, upping the ante on Keith Emerson during his organ-stabbing days with the Nice.
Elsewhere, the politeness factor of Hatfield and the North and earlier National Health is roughed up by newcomer Greaves, formerly of Henry Cow. Greaves’ vocals are less polished than those of the Hatfields’ Richard Sinclair -- and certainly less lovely than Amanda Parsons' soprano -- not trying quite so hard to “make it sound nice” (as Sinclair sang on the Hatfields' debut). Greaves croons (as he is credited) through the skewering of TV addicts during Pyle’s “Binoculars,” a tune that could be applied to smart phones and video games today. “The Collapso” -- a joke on “calypso,” ha ha -- is crammed full of change-ups apparently designed to thwart attempts at dancing, and features steel drums from guest Selwyn Baptiste, as well as the sound of Pyle breaking glass from a greenhouse during an interlude sounding suspiciously close to the beginning of Stravinsky's "Ebony Concerto." In “Squarer for Maud,” Stewart seems provoked by a brief spoken word interjection from the erudite Peter Blegvad to get down and dirty on acoustic piano, followed by more of that quintessential organ fuzz on an extended segment leading to a multiple-explosive finale. And the entire album is given a suite-like feel by the bookended themes of “The Bryden 2-Step,” more scalar and less tuneful than “Tenemos Roads” from National Health but given added power from its layered buildup and the presence of cellist Georgie Born. AMG.

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Ray Arnott - Rude Dudes 1979

Raymond "Ray" Walter Arnott is an Australian rock drummer, singer-songwriter, he was a member of Spectrum (1970–1973), which had a number one hit with "I'll Be Gone" (recorded before Arnott joined) in January 1971. He also had short stints with The Dingoes in the 1970s and Cold Chisel in 1980s
In late 1970 he replaced original drummer Mark Kennedy in the renowned Australian progressive rock group Spectrum and he remained with them until they split in early 1973. He sang backing and lead vocals with the band, as well as drumming, and he contributed several songs to their repertoire.
Arnott left Spectrum to join Mighty Kong, a new band formed by ex-Daddy Cool members Ross Wilson and Ross Hannaford, but the new group was very short-lived and broke up soon after recording its only LP in late 1973.
Arnott took over the drum stool from the original drummer in two of the most prominent Australian groups of the period, The Dingoes in the late 1970s and Cold Chisel in 1983, but in both cases his tenure was relatively short.
Cold Chisel frontman Jim Barnes took on Arnott for his first two solo releases, the Bodyswerve album in 1984 and For the Working Class Man album in 1985.
Arnott now lives and works on the NSW North Coast of Australia as a Teaching Assistant at Lismore Heights Public School and occasional band member. Hard to find.

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Solomon Burke - Electronic Magnetism 1971

While Solomon Burke never made a major impact upon the pop audience -- he never, in fact, had a Top 20 hit -- he was an important early soul pioneer. On his '60s singles for Atlantic, he brought a country influence into R&B, with emotional phrasing and intricately constructed, melodic ballads and midtempo songs. At the same time, he was surrounded with sophisticated "uptown" arrangements and was provided with much of his material by his producers, particularly Bert Berns. The combination of gospel, pop, country, and production polish was basic to the recipe of early soul. While Burke wasn't the only one pursuing this path, not many others did so as successfully. And he, like Otis Redding and Wilson Pickett, was an important influence upon the Rolling Stones, who covered Burke's "Cry to Me" and "Everybody Needs Somebody to Love" on their early albums.

Burke came by his gospel roots even more deeply than most soul stars. He was preaching at his family's Philadelphia church and hosting his own gospel radio show even before he'd reached his teens. He began recording gospel and R&B sides for Apollo in the mid- to late '50s. Like several former gospel singers (Aretha Franklin, Wilson Pickett), he was molded into a more secular direction when he signed with Atlantic in the '60s. Burke had a wealth of high-charting R&B hits in the early half of the '60s, which crossed over to the pop listings in a mild fashion as well. "Just Out of Reach," "Cry to Me," "If You Need Me," "Got to Get You Off My Mind," "Tonight's the Night," and "Goodbye Baby (Baby Goodbye)" were the most successful of these, although, unlike Franklin or Pickett, he wasn't able to expand his R&B base into a huge pop following as well. He left Atlantic in the late '60s and spent the next decade hopping between various labels, getting his biggest hit with a cover of Creedence Clearwater Revival's "Proud Mary" in 1969, and recording an album in the late '70s with cult soulster Swamp Dogg as producer.

From the '80s through the first decade of the new millennium, Burke became one of the most visible living exponents of classic soul music, continuing to tour and record albums in a rootsy, at times gospel-ish style. Although these were critically well-received, their stylistic purity also ensured that their market was primarily confined to roots music enthusiasts, rather than a pop audience. His live and later recorded work, however, is a favorite of those who want to experience a soul legend with his talents and stylistic purity relatively intact. Burke's 2002 release Don't Give Up on Me was hailed as a major comeback for the legendary soul man. Great songwriters like Elvis Costello, Dan Penn, Nick Lowe, and Tom Waits contributed songs, and Joe Henry produced the album, which has been compared to Johnny Cash's landmark American Recordings.

After the critical success of Don't Give Up on Me reaffirmed Burke's status as one of the greatest living exponents of classic soul, the singer teamed up with producer Don Was for Make Do with What You Got, an updated variation on his classic style that was released in spring 2005. A year later, Burkereleased an interesting country and soul hybrid, Nashville, on Shout! Factory. A second album on the label, Like a Fire, followed in 2008. Burke next reunited with producer Willie Mitchell for Nothing’s Impossible, which was released shortly after Mitchell’s death in 2010 by Koch Records’ E1 Music. In October of 2009, Burke teamed up with Dutch Soul band De Dijk for recording sessions that would become his final album: Hold on Tight. Sadly,Burke died on October 10, 2010 upon arrival at Schiphol Airport in Amsterdam, The Netherlands where the soul legend was scheduled to perform at a sold-out show at the city's Paradiso concert hall with De Dijk. Hold on Tight was eventually released in March 2011. AMG.

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Quarteto 1111 - Onde Quando Como Porque Cantamos Pessoas Vivas 1975

Quarteto 1111 was founded in 1967 in Estoril and is one of the most influential progressive rock and psychedelic rock bands in Portugal. Originally formed by Miguel Artur da Silveira (Drums), José Cid (Vocals and Keyboard), António Moniz Pereira (Guitar) and Jorge Moniz Pereira (Bass). Latter members included Tozé Brito, Mike Seargeant and Mário Rui Terra.
It was one of the many musical groups inspired in The Shadows. Originally called the Mystery Group (Conjunto Mistério), the name later changed to 1111 Quartet (Quarteto 1111). The name was inspired by phone number of the band's rehearsal place, at the drummer's house.
José Cid was the band leader, composer, keyboard player and lead singer. The rest of the band had a classic formation influenced by the usual Beatles line-up, but with a sound and song structure that reminds the early Moody Blues.

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Peter French - Ducks In Flight 1978

Early bands of Peter French, Switch, Erotic Eel, Joe Poe, the Brunning Sunflower Blues Band (first recording as vocalist on "Bullenstreet").
Black Cat Bones which later evolved into Leafhound,
69:In October of this year, Pete French was the singer in Big Bertha band, fronted by Cozy Powell (with Denny Ball and Dave Ball).
71:Featured in a Status Quo tribute single, "Status Rock" credited to the Headbangers.
Pete was recruited into Atomic Rooster during the second quarter of '71 as vocalist to record Rooster's 3rd LP, "In Hearing Of" which was released July '71. Alongside Vincent, John and Paul, Pete sang on this record and undertook the ensueing tours.
72: Joins Cactus with the Vanilla Fudge rhythm section of Tim Bogert and Carmine Appice.Appears on their 4th album album 'Ot 'N' Sweaty.
Pete also appeared in "De Fehrer", a German Rock Opera.
76/77 recruited into German band Randy Pie.Appears on '77 album Fast Forward. By end of '77 Randy Pie has disbanded.

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Michael Chapman - Fully Qualified Survivor 1970

After the critical acclaim Michael Chapman received for Rainmaker in 1969, he followed up quickly in early 1970 withFully Qualified Survivor, a record more adventurous and haunting than its predecessor, with added production flourishes and equally strong songs. Fully Qualified Survivor is the album that established Chapman as a folk troubadour. Leaving the guitar pyrotechnics largely locked in a shed, Chapman concentrated instead on his songwriting skills, and the sacrifice -- for this record anyway -- paid off. Leaving the lead guitar credits to a fellow Hull-man, Mick Ronson (who got his gig with David Bowie as a result of his playing on this album), with Rick Kemp making a return as bassist and Barry Morgan on drums, Chapman relied on no less than Paul Buckmaster -- then beginning to work with Elton John, among others -- to employ and arrange a small string section to fill out the songs. It paid off, netting him his only chart hit, "Postcards of Scarborough." However, the disc's opener, "Aviator," is the song that best embodies the spirit of the songwriter and album better than anything else on it. Aviator begins with a lilting violin entwined around a cello and a strummed guitar. Chapman intones his lyrics as a world-weary traveler who has come to the end of his days and looks back on the things he has seen, loved, and lost. The song has no refrain, and is sung like a poem, with stunning violin fills swooping and sweeping all over the place, and with the cello and Kemp's bass playing counterpoint to one another in a melancholic melody full of pathos and verve. Some of Chapman's finger-wild guitar shine is displayed in the laid-back rag "Naked Ladies & Electric Ragtime." Ronson, for the very first time on a recording, got to showcase his lead-guitar skills on the sweeping "Stranger in the Room," a meld of folk and rock that holds one of the best crescendos in the history of either music. Chapman's material is dark, unrelenting, and as seasoned as a seaman in its distance from the object of his distaste and affection. But it's the next track that held the magic for tens of thousands in the U.K. and has become Chapman's albatross. "Postcards of Scarborough," with its languid, acoustic guitars strummed and fingerpicked for a full minute before the strings and vocal kick in. It's a song that evokes the memory with all its bittersweet power. The lyrics are so picaresque the listener can "see" the scene unfold in the singer's mind. The stunningly long refrain is punctuated by a swell of strings and Rono's leads and gets carries into emotional-overload territory. Once you hear this song, with its notion of the protagonist having "Postcards from Scarborough to keep in my mind/To hide from where I've been/To help remind/Of time passed and time passing," you'll not be able to get its brokenness from your mind, nor will you know the how and the why of all that's transpired. There's regret and resignation, and perhaps the scant trace of bitterness, but no longing or yearning. It's Zen-like in its acceptance. The rest of the disc is solid as well, from the rocking, crackling "Fishbeard Sunset" to the poetic and opaque "March Rain" to the darkly hunted "Kodak Ghosts." It digs deep into emotional territory by way of tight, almost suffocating songwriting and killer arrangements, making this one of the defining Brit folk-rock albums of the period. It holds up well in the 21st century as a true testament to the excellence of Chapman's craft. AMG.

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