Rolling Stone Magazine’s 44th Best Progressive LP Is by an English Folk-Rock Band!

There is a place for music between Procol Harum and The Moody Blues — and that place is solidly owned by two English bands. They are Barclay James Harvest (who have existed and continue to perform and record to this day since 1966) and Strawbs — who started out as a bluesgrass band in 1964 under the name the Strawberry Hill Boys. Never heard of Strawbs? Too bad. They were the band that legendary Fairport Convention singer Sandy Denny started her career with. She sang and recorded with Strawbs, her original composition Who Knows Where the Time Goes, which was covered by Judy Collins and countless others. Rick Wakeman was their keyboardist and he then went on to Yes.  John Hawken joined them and he was originally with the Nashville Teens (Tobacco Road)  and the classical rock band Renaissance when Jane Relf was the lead singer (and her brother and late former Yardbird Keith Relf and Jim McCartey were members as well). You see, Strawbs had some heavyweights in their line-up — but as a cohesive unit, they were always musicians who were wizards of their craft. 

From bluegrass to Celtic-folk and then slowly to a patented style of progressive-folk music that was stunning. Somewhere between early King Crimson and dark Procol Harum, and then moments of clarity and beauty in a Moody Blues wavelenght. They had the voices that were a brilliant contrast and then at times their lead singer — with his deep, unorthodox but rural-like voice would fill your speakers with an authorative tone much the same as Jim Morrison or more accurately, Cat Stevens. Yet, with all these comparisons, for the benefit of those unfamiliar — the band always maintained an air of originality and creativity that set Strawbs apart from the crowded field. 

Despite what Rolling Stone Magazine says, I’ve never been a fan –but for over forty years I’ve been an admirer.

This is not just any group of musicians. This is a band that has endured and is without a doubt — up there with The Beatles, The Stones, The Kinks, King Crimson, the Moody Blues and Procol Harum. Who lasts more than forty-years in this business and still has a fan base? Old, middle-aged and young and growing! The consistent quality of this band, led by singer-songwriter Dave Cousins is undisputable.

In their early days with Sandy Denny, the band recorded the beautiful All I Need Is You, penned by Dave Cousins. With its intricate acoustic guitars — this is another English folk classic. The band slowly shaped its approach from straight ahead folk into a style that would develop and continue even once Sandy departed. The album “Dragonfly,” with hints of progressive music in the long and dynamic ten minute The Vision of the Lady of the Lake was challenging. The beginning with a heavy cello and crystal clear acoustics supported a haunting melody. The storytelling for its time was compelling. Cousins wisely wrote the folk tale probably with a bolero in mind. It slowly adds instruments and builds in little crescendos until the five-minute mark when a sharp snare snaps — and the song begins to take a more progressive turn.

The drummer was tight and creative and the effects on Cousins’ voice made the song scary and other-worldly. More instruments took shape and it was obvious this band was headed in an entirely new direction. To my ears it was miraculous as an English folk-rock band started to take their positions in this artistic and literate progressive rock and not lose the beauty of their melodies. This particular song was before Marillion, before Rush, before any of the darker, intense bands that were progressive. The development continued and it was marvelous to watch and listen. 

Rick Wakeman on keyboards played a pivotal role in the transition from folk-rock into progressive. But for now, Strawbs played it smart. They continued with ingenious lyrics, folk-rock melodies and mystic melodies — much the same as the more Medieval Amazing Blondell.

The album, “From the Witchwood,” followed and the Wakeman keyboards and mellotron were dominant. The lyrics were creative, the melodies and harmonies tighter, the songs shorter. Guitarist John Ford and drummer Richard Hudson also contributed more commercial tunes and vocals. Their vocals were a bright contrast with Dave Cousins. Like Procol Harum, their vocals balanced the band as Gary Brooker and Matthew Fisher’s had in Procol. It was a nice sound, but the most beautiful song was the last one: I’ll Carry On Beside You – sung by Tony Hooper but written by Dave Cousins. It made me look forward to the next album even more. This is a great lost song to be covered by other artists – it’s beautiful, powerful, and reminiscent of English folk-rock bands — Lindisfarne and the Irish band Horslips. It was clear these men were impeccable musicians and not mere rock and rollers. The variety and diversification of the instruments played, how they were played and the vocals on the album was interesting and captivating. Maybe that’s the reason they lasted so long despite a lack of commercial success. But what made up for it — and more importantly — was that they had musical success, and the respect of many loyal listeners, world-wide.  

By the incredible “Grave New World,” (which straddled the worlds of Procol Harum & The Moody Blues), Rick Wakeman had joined Yes and Blue Weaver became a Strawb. This album dared to come even closer to progressive music. This was one of Strawbs’ most beautifully realized albums. The stunning Benedictus I thought was a Moody Blues song. I was wrong. Tomorrow, would knock the shoes off the average heavy metal fan. On Growing Older, would pull a tear from a big man’s eye. Queen of Dreams, would mesmerize drummers with its unorthodox relentless attack which goes beyond mere fills and the sound of knocking empty bottles during the instrumental break was a peculiar sound. (All done before Tom Waits started to experiment with odds and ends as musical instruments). 

How could this band top this album?

They release “Bursting at the Seams,” and its beauty is incredible. From the beauty of Flying, Lady Fuschia, to the intensity of Down by the Sea, and Lay Down – many bands at this time simply did not have the consistency this band possessed. My guitar hero friends with their Eric Clapton and Santana albums started to “hear” the marvelous playing of Dave Lambert. They could only exclaim “who is this guy?” And they would be right to wonder. Lambert didn’t make many guitar best-of charts he was quite obscure. But to Strawbs’ fans they knew who this man was. Many albums would follow with style and substance. But they are not the subject at this time, here.

It’s 1974 – and the beautiful artwork on their “white album” with a white dove being released from human hands became “Hero and Heroine.” On keyboards was John Hawken (who joined in 1973). Hawken was a respected keyboard player and session man — and when I saw his name I knew a new dimension would be added. Released originally 43 years ago on Herb Alpert’s A&M Records, the album opens with the ghostly, haunting, melodic strains of Autumn, and seagulls high above your head come through your speakers as the mellotron’s full string section swoops in. Drums thunder, acoustic guitars snap with sharp notes and it all sets the scene.  Strawbs didn’t just compose music and play it — they always set the mood for their pieces and they did it ingeniously. Then suddenly, the drama ends and beautiful guitar interplay begins before Dave Cousins’ calm and relaxing vocals unfolds the story as only a proper Englishman could. The lyrics, nothing like anything in rock music. This is a novella, literature set to music.

It’s not easy to hold a listener’s attention for eight minutes on an opening track but, this one did. The song included: Heroine’s Theme, written by John Hawken and Deep Summer Sleep / The Winter Long, both written by Dave Cousins — its conclusion.

At this time Pink Floyd started to release music as well that wasn’t as electronic and experimental as previous albums but leaning on stories – “Dark Side of the Moon.” I often wondered if Roger Waters listened to the previous Strawbs albums for inspiration — because Pink Floyd was not performing music like this — and now they were and Strawbs was already performing that type of music — lock, stock and barrel. With acute arrangements, dramatic clustered guitars and acoustics and thunderous Baltic Sea stormy wave like drums.   

Hawken’s beautiful piano on this track was awesome. Beautiful, inspiring, proving that a folk-rock band bordering now on progressive music could write melodies like the classic musicians – a Brahms, a Beethoven, a Wagner – their pieces while not as intricate as those composers did pay homage to the spirit of that composing. Autumn is an inspiring melody. Hawken’s was the right pianist for this band at this time. His touch was like a feather on a pillow. And this was the opening track? Wow. Back in 1974 — I could almost feel the possibility of a masterpiece by Strawbs. I know NYC progressive rock radio stations were indeed playing this…a lot.

This was music that since its release — many people, internationally, have said they cherished. That’s a pretty strong word for a song by a band that is not “well known.” The composers should be pleased with their work. It has endured through the decades while many commercial hits have faded into history. To assure listeners — the second track – Sad Young Man, was more of a ballad, sung with a dose of drama similar to Rare Bird with Steve Gould, filled with crystalline guitars between Dave Lambert and Dave Cousins. The song was in keeping with the tradition of Strawbs though it was written by bassist Chas Cronk. Used wisely, and not as a special effect John Hawken’s mellotron created a distinctly full symphonic sound for the band.

To prove Strawbs could rock – Just Love,  came rollicking in. It’s an energy infused Dave Lambert song that was also sung by him. The dynamic drums of Rob Coombs drive the song forward with a fascinating beat. A typical lost hit – this has everything anyone who loves rock would embrace. Even the break, with its old time slowing down of the pace, with strings from the mellotron and the energetic come back on guitar. The riff is melodic the way a Rolling Stones riff is and Lambert’s guitar leads swoop and curl around the melody with a looseness in its exhilarating style. Is it catchy? You’ll be singing it all day….be careful.

Shine On Silver Sun, is a fascinating Strawbs tune with its harmonic values, strong Cousins vocal, melody strapped tight, and gentle guitar swirls. The composition has expressive moments, coherent piano runs, and even though it’s from 1974 the recording is impeccable. It’s an uplifting ballad – something that is sorely missed in much of today’s music. As simple as this Dave Cousins song is there is nothing lame, or sappy about it. It has an inner strength and it lingers in the ear long after it has stopped playing.

On the vinyl version side two would begin with the title track: Hero and Heroine. This hits you between the eyes. Musically it starts off with a progressive bang but Dave Cousins, genius that he is, sings the song almost in accapella with folk intensity. Who does this? Damn. In the middle of the song he sings in an old world Italian tarantella beat and it works. The symphonic John Hawken mellotron stimulates the rhythms. The drums pound with authority and dusts the song with creative beats and fills. Here the song includes some vocal special effects. Cousins’ voice is other-worldly again and this is a baring of all teeth approach. Strawbs are masters at balancing the melody with the drama, the acoustics with the propensity to be bombastic yet, they hold the reins firm and simply keep it from spilling. “While storm clouds gathered high above, the heroine he grew to love, turned slowly to a snow white dove…and spread her wings to fly / Crushed and broken in the end, hero watched his soul ascend, knowing that he was condemned, to sail all alone to die.” Come on….even Keats and Herman Melville could appreciate this. 

Not your average rock song and it ends with refined acoustic guitar strings and into Midnight Sun, they go. Cousins sings in a low vocal with sincerity and “flutes” in a very meditative style fill the room. Cousins, in harmony with Lambert, Chas Cronk (co-writer of this song) and Rod Coombs sing in unison. The acoustic guitar sculpts notes and the voices in unison are choir superb.

The harmonica driven acoustic song Out in the Cold, is a roots-oriented surprise. No credit on the album as to who plays the harmonica but it’s quite good — not Paul Butterfield but it’s good. “Now I know how it feels to be old, out in the cold.” Strawbs was never afraid to apply their rock abilities and sensibilities to a mature subject. Cousins’ vocals continue to be graceful with the necessary power to deliver an appealing, yet somber tune.

The next song is a masterpiece: Round and Round with an opening line that grabs you by the throat immediately like few rock songs can: “I drew the blade across my wrist, to see how it would feel…. looked into the future…there was nothing to reveal….” Holy cow.

And it doesn’t end there, Cousins goes into a narration as the synth solos and he says some lines about revolution and revelation and concludes with these lines to raise the hair on the back of your neck: “…I pity those poor children, with no sunshine in their eyes…” This is profound stuff. He was talking about us.

Between the jazz-tinted powerfully splashed drums, the melodic mellotron fattening up the song with threatening notes, the stab of Lambert’s guitar nailed to Dave Cousins’ caustic yet, believable vocals this was the musik infante-grunge years before it was born. It wasn’t bottle fed either.

Listen to the nuclear powered arrangement of this architecture — and radio didn’t hear this one? This is a classic every bit as powerful as Stairway to Heaven, Light My Fire, or even Won’t Get Fooled Again. Strawbs continued this recipe with Tomorrow, from Grave New World and onto Turn Me Round, on Deep Cuts. That one will leave you panting for air as well.

Lay a Little Light on Me / Hero’s Theme, with allusions to masturbation — Cousins’ beautiful melody doesn’t leave any stone unturned. Then with all its folk-progressions Hawken delivers a knockout with his wall of sound mellotron-synths and we wonder why rappers sample music from bands like this.

Dave’s vocals toward the conclusion are disciplined and very milk and whiskey. You want powerful vocals? I give you Dave Cousins laying down some light on you. The finale, Hero’s Theme is lead guitarist Dave Lambert’s incredibly grand composition. Everything is remarkably balanced by these musicians. Is it stiff? No. Well thought out? Absolutely. The entire presentation is fluid because this is in the hands of professionals and it’s exemplarily.

There are some bonus tracks: Still Small Voice, which has a bristling guitar signature and drum roll with a more snarling attack as Cousin comes in with a Pete Hammill and Van der Graaf Generator type vigorous vocal. Simple, short and effective. An earlier version of Lay a Little Light on Me, is included on some albums. It’s far a more upbeat version with a barrel house piano and snaking, riveting accurate drums. This is actually a good version of an even greater song.

Strawbs would go on for several more years and release more appetizing albums. I, personally, have seen them five times. As an electric band in New York in the 70’s, and acoustically in a private performance at Kroghs in Lake Mohawk, NJ in 2003. I am happy to see that Strawbs continues to record and perform. I hope they do so for as long as they can – because it is my understanding that many, many people throughout the world continue to attend their concerts.

Could be they are not as obscure as many think – even if your average commercial music lover doesn’t know who they are. The Strawbs admirer is a person who doesn’t follow trends, doesn’t follow crowds or charts. They know they will not be disappointed when they buy a Strawbs album, or attend a Strawbs concert. I never have been disappointed by this folk-rock band that is considered 44th on a progressive chart. That is truly amazing, and deservedly so. 

Dave Cousins has released several solo albums, and guitarist Dave Lambert released a solo album Framed which had a great tune on it called Take a Bit of My Life, — it was covered by other artists and it was a hit for Eddie Money (1982) who sang it in a similar Lambert style. Many on YouTube believe the song was written by Eddie Money or Jon Bon Jovi – but they would be wrong. Spencer Proffer co-wrote it with Dave in 1979.  

“Hero and Heroine” received a warm reception in the US when it was initially released and at that time, Strawbs began to focus more on the US market. John Hawken’s mellotron became quite the focus as well. Seems he was using it in a more melodic manner than most progressive bands and showed others how wide a scope this instrument could be.

Today, bands like Spirit of the West, and the Oyster Band continue in this tradition and it’s never too late to discover a band like Strawbs — that plays music that seems to never grow old. 

The album was produced and recorded in Copenhagen in November 1973 by Dave Cousins and Tom Allom. The album’s art and sleeve were the fine work of Michael Doud (London) and all the photography on the album was by Tony Evans. The original vinyl album sleeve included all lyrics.

The full band Strawbs is currently on a Hero and Heroine 2016 Tour and their schedule and current members are all posted on their website.

Sample music on Spotify.   

Website:  http://www.strawbsweb.co.uk/ 

FaceBook: https://www.facebook.com/groups/125319430894924

Jango Music Samples: http://www.jango.com/music/The+Strawbs

Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / May 2016