CLICK HERE FOR RECENT SHOW REVIEWS!
NEW WORLD-- A very nice, less orchestrated, less theatrical version which captures the feeling of the original with a few twists thrown in, bringing a Cousins classic into the 21st Century. A more minimalist approach is taken with a rocking guitar part while John keeps his bass lines true to the original.
YOU CAN'T KEEP ME FROM SINGING-- A John Ford original. I've confirmed this with several people; you will like this song more every time you hear it. A very pleasant melody, very characteristic of John's music along with his distinctive voice and catchy lyrics. You'll be swaying along to the music before the song is through.
ACROSS THE UNIVERSE-- A very good cover of a Lennon/McCartney classic. I've always felt that John's voice sounded somewhat similar to his favorite singer, John Lennon, which is quite evident here.
A WHITER SHADE OF PALE-- A sensitive cover of the Procol Harem classic... Believe it or not, this is better than the original! (And I really like the original!) Positively outstanding!
KISSED BY THE SUN-- Another Ford original, written about John's daughter. Very loving, great sentiment, wonderful imagery; you'll be humming this one for days! Originally released on "Heading for a High," I prefer this version.
PART OF THE UNION-- Part of the Union is a Hudson/Ford classic, which was the highest charting song ever recorded by The Strawbs! This version features Cathryn Craig and Brian Willoughby on vocals and guitar, respectively. A "sitting around the pub having a few beers classic."
WORRIED MAN BLUES--The final cut is a 28 second skiffle ditty. Where is the banjo player from "Deliverance" when we need him?
Another "must-have" CD for John Ford AND Strawbs fans everywhere!
I am starting from track #4 "A Whiter Shade Of Pale". One of the top 100 tracks of all time. IMO. I was sitting in the booth with John as he played this song about 40 minutes into his set. When he was finished I uttered to him, That Was Good. It was the only time I interrupted during the proceedings. He has since added strings and percussion and made a classic. A beautiful piece of timeless music. He was born to sing this song.
Track #6 is "Part Of The Union" with Cathryn Craig on tambourine and Brian Willoughby playing his usual tasteful leads. This was the second time they played it together, added the tambourine at Cathryn's insistence and Brian did a 2nd lead line on it. Superb!!! The best version since the original.
It ends with a excerpt from a old skiffle song "Worried Man Blues". The future? Maybe.
Grave New World was the first Strawbs album I ever bought. "New World" and "Queen Of Dreams" kept side 1 on the ol' turntable for multiple listens. John has made a strong guitar driven version that still has the synthesizer feel to it. Very nicely done.
Track #2 "You Can't Keep Me From Singing" is another in a long line of great JF songs.
Track #3] "Across The Universe" a Lennon/McCartney tune which works to John's strengths. As all Beatles songs do. This is the fifth Beatles song I've heard him sing, He was also meant to sing Beatles songs! The Sixth Beatle? I don't know.
Track #5 "Kissed By The Sun" (a favorite of the wife's) is the other song from April 18th. Again with John's production talents a great version of a great song.
The New World maxi-single continues where Backtracking left off. Great Music!!!!
As today (1 July) is John Ford's birthday I thought it apt to review his new "maxi-single", which really does represent amazing value. It consists of 6-and-a-bit tracks, some of which will have been witnessed during live recording by the lucky Witchwooders who attended the party he played with Brian and Cathryn in Bristol earlier in the year.
May I suggest that rather than having a whip-round to buy him new socks this year everyone buys themselves a copy – Strawbs' fans really should hear this alternative version of "New World" regarding which Dave Cousins himself has apparently been very complimentary.
John's version of "New World" is extremely soulful, imparting a sense of foreboding just as the original Strawbs' recording, though the slower pace of this rendition appears to emphasize weary resignation and apathy induced by seemingly ceaseless bloodshed rather than the anger apparent in Dave Cousins' vocals. A minimalist introduction involving only acoustic guitar accompanying John's vocals is shortly followed by the addition of keyboards, and this powerful recording builds to a crescendo involving some excellent lead guitar playing and bass lines so familiar to Strawbs' fans. "There is death in the air, with the lights growing dim…" the well renowned lines sound as though spoken through a megaphone, conjuring up images of emergency services desperately searching for survivors in the aftermath of catastrophe. Dave Cousins has apparently been very complimentary regarding John's highly sympathetic reworking of this Strawbs' classic.
A newly recorded love song follows: "You Can't Keep Me From Singing". This track opens with attractive keyboard and acoustic guitar, very "John Ford" in style with distinctive trademark catchy tune and interesting, easily distinguishable lyrics; a pleasure to listen to.
A very pleasant interpretation of Lennon/McCartney's "Across the Universe" follows. Vocally, John would surely have slotted easily into the Beatles (their loss) and his voice suits this song down to the ground.
The subsequent four tracks were recorded live at Joe Langer's party in Bristol, CT in Spring 2005:
"A Whiter Shade of Pale", a song by a bunch of rather famous (Southend) Essex boys called Procul Harum follows. I believe John commented that it was a song he wished he'd written, which must surely be a sentiment felt by many. This is a beautiful version of a beautiful song, which John again sings with great feeling and sensitivity. I have actually been able to decipher the lyrics for the first time in my life thanks to John's rendition
"Kissed by the Sun" is one of my favourite tracks from John's second solo album, "Heading for a High": this version is slower and sung more gently than the original. Laid back keyboards and acoustic guitar complement John's vocals and add to a dreamy feel.
John next proceeds to introduce Brian Willoughby and Cathryn Craig, and together the three of them perform "Part of the Union", with Cathryn's harmonies embellishing John's lead vocals. Cathryn has a wonderful voice to which anyone having had the pleasure of hearing Brian and Cathryn perform will attest. Brian's guitar neatly fills the gap left by the lack of Blue Weaver's piano, and the song has something of a skiffle feel to it. The enjoyment felt in the making of this live track is clearly evident and must have been a pleasure to behold.
A brief snatch of Donegan's "Worried Man Blues" completes this "maxi-single" of remarkably good value, together with an exchange between John and Cathryn regarding "skiffle" (John has previously cited Lonnie Donegan as one of the big influences on his musical career). Laughter from the audience conveys the ambient, relaxed atmosphere shared by those present this event.
The front and back sleeves within the CD jewel case feature art nouveau designs, and those who own an original copy of the "Grave New World" album will appreciate the replicated illustrations from the back cover of the booklet which accompanied the album, imparting a sense of continuity; a lovely touch indeed.
Nice Legs, Shame About The Face - This is the version I would have wanted in 1979, when the record company decided to release what was actually a demo version. This time it sounds much more like a full band version and has a good sing-song finish. John sounds like he's having a great time singing it, as well, with his voice breaking into laughter rather like DC in "Tokyo Rosie".
Suspended Animation - Similar to the version on the 1981 Monks album although this time with John doing the vocals. A heavier version than the more punky original. Again, it works for me. I love the bass guitar work in the 3rd verse.
Summer's Gone - Great laid back start before rocking it up for the body of the song. A regret for the passing of summer. Something I can empathize with.
Love Is A Highway - Good version although I don't feel it adds much to the original from 7 years ago.
I Don't Understand - Slowing down now for a reflective look back. A pleasant, laid back song for the most part with a good electric break in the middle.
Revelations (and Reprise)- Not sure what John is getting at in this one. Possibly instructions to the next generation to learn from the mistakes of this one. A very threatening sort of 'something's going to happen' feel to the music all the way through. The reprise reminds me of the title track from Pink Floyd's 'Obscured By Clouds' (that's a compliment).
When Did I Ever Let You Down - Another good rocker with a trademark driving beat.
Cold Steel - Oh dear, sorry to Dave Lambert. This is/was probably my favourite track on Deja Fou. However, John's version knocks the spots off the original. Missing the longer intro of the original which was extended to bring in the banjo, this version launches fairly swiftly into a superb rocker, the sort of number that John does so well. Driving rhythm guitar and blistering lead guitar on the playout just make me wish for more. I just play this one over and over.
You Made Your Bed - This track first appeared on Love Is A Highway. A real 'put down' of a song. Sounds like loads of bitterness over a breakup. Lots of anger. Great song.
Reactions Of A Young Man - John says 'the 60s flavour has hopefully been kept on this recording'. I'd say the sitar works for the 60s flavour. Not sure if anything else is supposed to do it. The story of a young man saying goodbye to an older, married woman after a relationship that was doomed from the start. I like this one.
We Got 'Em Running - An 'out for revenge' song if ever there was one - "though we didn't start it we'll avenge the broken hearted". The liner notes say written just before 9-11. I think that should read just after 9-11. There were any number of songs that came out of 9-11. This is one of my favourites. Essentially the 'Natural High' version but slightly tweaked.
Witchwood - A very laid back, folky version of the Strawbs classic. Done live with just John and an acoustic guitar. Very evocative and a good contrast to some of the faster, rockier tracks.
Heavy Disguise - A great song from GNW and done well for this live 'bonus' track. Because the original version was just John and guitar (with string overdubs) this song has always come over well when done live. This recording is no exception.
************
Backtracking brings together fresh recordings of an eclectic collection of songs, mainly written by John Ford himself or together with Richard Hudson. The inclusion of John's own interpretation of tracks written by both Dave Cousins and Dave Lambert in the form of "Witchwood" and "Cold Steel", together with a new, pared down version of "Heavy Disguise", is likely to be of particular interest to Strawbs' fans. The Monks' very individual style is also represented on this album, together with new recordings of several tracks from John's days as part of Hudson Ford. Backtracking also includes newly recorded versions of songs which have appeared on John's recent solo albums. Many of the tracks featured have been unavailable on cd until now, and this release gives fans (or fans yet to be) the chance to hear gems they may have missed along the way.
The album opens with a new recording of "Nice Legs, Shame About the Face", originally released by The Monks on the Bad Habits album in 1979, which has an amusing punchline and was undoubtedly a good, well-written pop song. This is followed by a re-recording of a further Monks track, in the form of "Suspended Animation" – lots of sound effects, great drumming, several interesting timing changes and the requisite "spacey" feel (given the lyrical content of the song) cleverly captured - I really enjoy listening to this track. Only since hearing this new version have I appreciated what a fascinating song it is; unfortunately The Monks' albums were released in an era when punk culture had completely hijacked the UK music press and music charts. It was definitely not a fruitful time for bands unable to squeeze under the punk umbrella in the UK, and the faintly "pseudo" punk of The Monks was not afforded high credibility status in the UK at that time. I happened to spend some time in both the USA and Canada that year, and even whilst visiting major cities I remember being surprised at the minimal impact punk seemed to have made compared with the UK, where every town centre in the country was full of multi-colour haired, safety pinned and swastika'd punks spitting provocatively on the pavements between swigs of cider and whatever else. The Monks apparently achieved their greatest success in Canada, and I must assume the UK music industry's almost total obsession with punk at that time was the reason. Having now heard these re-recorded Monks tracks and having listened to them for what they are, The Monks' very own sound, has been a new and enjoyable experience for me.
Onward from the Monks' contributions, the album continues with "Summer's Gone"; a beautiful track originally written by John together with Richard Hudson. This is a lovely, melodic and slightly wistful track; I'm so glad it didn't remain overlooked and gathering dust as it apparently had been for many years.
"Love is a Highway" follows – my first hearing of this song was actually at the Strawbs' 30 year reunion gig at Chiswick Park where the song was played over the loudspeaker system. I wondered what I was listening to at the time and was delighted when I realised John was on the verge of releasing his first solo album. John was apparently not completely happy with that initial recording and says his dissatisfaction with it is what initially prompted him to put this album together – I'm afraid I can't agree there, I love the original recording, though I'm glad he wasn't so happy or Backtracking may not have been recorded! This is an alternative version as far as I'm concerned, neither better nor worse. This has more "rocked up" guitar and backing vocals than the original.
A couple of excellent tracks from Hudson Ford's first album Nickelodeon follow: the beautifully laid-back and reflective "I Don't Understand" which segues via simple acoustic guitar into "Revelations". These two songs (the first of which was originally sung by Hud on Nickelodeon) were always played together when Hudson Ford performed live and following "Revelations" the audience often appeared to be in an almost hypnotic state, such was the intensity of these songs. In this version "Revelations" is driven along with acoustic guitar to the fore, with more subdued lead, then fades to nothing, fooling the uninitiated that the track has finished……..only for a reprise to appear with some excellent lead guitar playing taking centre stage. I remember Hudson Ford appearing on "The Old Grey Whistle Test" in the UK in the days of Whispering Bob and playing "Crying Blues" and "Take it Back" from Nickelodeon – not sure whether they played "I Don't Understand"/"Revelations" on OGWT or another tv programme too - I seem to have a vague recollection that they did somewhere - Dick?? Help me out!
"When Did I Ever Let You Down" from John's first solo album follows. The vocals are mixed lower than on the original, again some great electric guitar and keyboards. I like this recording a lot and I think this song has some interesting lines lyrically.
"Cold Steel" – a song recently written by Strawbs' Dave Lambert follows – a terrific version of a giant of a song with lyrics that hit where it hurts. "Cold Steel" wasn't voted one of Strawbs' fans' favourites from Deja Fou (Strawbs album released in 2004) for nothing. John's version is much heavier and rockier than the original - I could not possibly say I prefer one version to the other though – the two different interpretations of this gripping song make comparison irrelevant for me. I love`em both and wouldn't want to be without either!
Another of John's own more recent compositions follows: "You Made Your Bed" - a very bitter sounding song as implied by the title. This is a slower version than appeared on the Love is a Highway album. Definitely not one of my favourite tracks this one, sorry, but bearing in mind this album has 13 tracks I don't think that's bad going.
I was amazed to see Backtracking included "Reactions of a Young Man". This appeared on the first Elmer Gantry album so long ago I don't even want to say (ok it was 1968). I remember advertising in Melody Maker for a copy some time in the 1970s and was delighted to receive it. This track was always a particular favourite of mine - the lyrics are interesting and always amused me about a "Mrs. Robinson" and her bike-riding toy-boy. I could never help wondering whether or not he removed his cycle clips. John's vocals are much more to the fore than on the album.
"We Got `Em Running" is quite a heavy song, both musically and lyrically. A good rocker which I could imagine getting everyone up and jumping when played live, it obviously refers to the devastation of 9/11 and the desire for revenge felt in the direct aftermath.
The penultimate track, "Witchwood" follows in complete contrast, with power in the form of beauty. John's voice is at its very best. The acoustic guitar is so gentle and John's interpretation of this Dave Cousins classic is completely and utterly gorgeous. I could listen to it all day. Again, I feel any attempt to compare the two different versions would be a futile exercise.
Finally, the album concludes with a fresh recording of "Heavy Disguise", a classic from Grave New World. No horns or other embellishments this time as on the original, just John and his acoustic guitar, his vocals ringing out clear and unimpeded. I adore this version.
************
John's third album since 1998 - prolific fellow ain't he ? - breaks the mould of the first two, on which John played most if not all the instruments on each track. Whilst John plays a variety of instruments throughout, Vin Fabiano plays bass and guitar solo on "If You Stand By Me", Mike Gebhardt, electric guitar on "PTR" and John's son, John Ford Jr, plays piano on "PTR" and "I'm Not Waiting Any Longer", organ on "Natural High", and contributes piano, bass synthesizer and backing vocals to "America, You're Home To Me". Allison Ryan is backing vocalist on "America, You're Home To Me" and "Ready To Roll."
It's no surprise that some of the songs on John's latest CD deal with the terrorist attacks on America of September 11. The driving rhythm of "We've Got 'Em Running", the opening track on the album, is the background for some uncompromising lyrics, which might offend some of those looking in from the outside - "turn the other cheek" it certainly isn't! However, those of us not directly affected by the catastrophe should bear in mind that John is a resident of New York and that he and his family were profoundly affected (as were many others around the world) by those staggering events. In that light, it's as honest a reflection of the mood of the times and the feelings of those around him as Dave Cousins "Hangman and the Papist" or "New World" would have been in its own particular moment in time.
A recollection of the "calm before the storm" in "Ready To Roll" (track 2) sees John in more reflective mood - things which are here today may not be tomorrow, so take full advantage of them. Acoustic guitars over a percussive background, with bursts of electric rhythm under the choruses and a few nice lead fuzzy break. "America, You're Home To Me" starts off with some percussion, but turns into an anthem for John's adopted land - it builds well to a singalong chorus, which I honestly feel could be a runaway hit if it gets proper release and distribution (though there's certain irony in such a track being written by a chap from Fulham!).
But there's not just patriotism on display - "Selling God on TV" comes in for criticism in "PTR" (Prime Time Religion for us UK types who may not recognise the acronym), a bouncy closer to the CD. The splendid "Together Apart", which featured on the 2001 Strawbs tour as Hud and John's opener is still possibly the catchiest song on the album though I'm pretty familiar with it by now (I did see about 15 shows after all!). The melody of "Don't Blame Me"sticks in your head for a while too.
All in all, an excellent set of songs, keeping up the high quality we've come to expect from John in his solo releases. Available from John via his website (as are his earlier two albums) from John's web site http://www.johnfordmusic.net.
************
Well, I received my copy of "Natural High" and I've had the pleasure of playing it over a few days now. I know I'm a little biased being a former (but not recovered) Hudson Ford fan, and before that a fan of Strawbs since Antiques and Curios, but I really would have no hesitation recommending this album - there are 15 tracks amounting to over an hour running time, with plenty to appeal to most Strawbs fans.
Some of the tracks were obviously inspired by the events of 11 September, which isn't surprising with JF and his family being citizens of NY. I particularly like the second track "Ready to Roll", which is a slow paced, wistful recollection of that day and its implications. The opening track ("We Got "Em Running") doesn't actually appeal to me personally as much - it's more of a rock song - but that's the thing about John Ford's albums, he manages to cover such a wide diversity of styles. (All the lyrics to the album and little sound clips can be found on his website, www.johnfordmusic.net which I think is a great idea).
Several of the tracks are extremely catchy and should come with a warning that you won't be able to stop humming them - "Ball of Flame" must have HUGE hit potential, and "Together Apart" (which many of you, like me, probably saw JF perform on the last Strawbs tour) is about the heartbreak of losing his young son a few years back. It's a beautiful song with a happy, uplifting feel to it. A lot of JF's songs seem to have that "feel good factor" - I know a lot of the subjects covered are not exactly happy ones but the general feeling left after playing this album is of optimism. My point of view anyway!
There are a host of romantic ballads with some lovely instrumentation - far too many to give them all a mention. I particularly like "I Danced with You", "Needle in my Eye" and I also loved the title track "Natural High" immediately I heard it - it's got a very hypnotic beat with great little keyboard bits that sound like a snake charmer playing. From the CD insert I see that John's son (JF jnr.), played keyboards on that track and a couple of others, and also John's wife adds backing vocals to a couple of tracks.
I must admit I find "America You're Home to Me" a bit hard to get into the spirit of if you're 100% non-American like me, but this is another track which must have huge appeal if it gets exposure in the States. It's another unashamedly contagious, jaunty song with rousing chorus and I can easily picture it being played in American outlets everywhere.
Anyway, that's about it...... apart from a mention for Mike Gebhardt, whom I met last year before Strawbs' Bloomsbury gig along with several others of that most elite bunch of Strawbs fans (Witchwooders, of course!). Mike plays electric guitar of the last track "PTR", which is another really good song about religion administered via television.
