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RESTORATION
Amazing Blondel began their recording career way back in 1970, rising from the breakup of a rock outfit named Methusala. An early signing with Island records saw a string of album releases and a succession of
intensive tours, which allowed the band to create a niche market for themselves. Eventually however, the band became a victim of it's own success as constant touring took it's toll ... and sadly they
disappeared with, not so much of a bang as, a whimper.
In 1994 HTD records contacted singer, guitarist and songwriter, John Gladwin with a view to getting the band back together to produce a new album.
The result was 'Restoration' which saw the original line up of Amazing Blondel back together again for the first time in over twenty years! From the early days the band made use of period instruments and, in addition to the aforementioned John Gladwin, the band consists of two other members - joint founder Terence Wincott plays flute, recorders, woodwind, harpsichord, organ, vocals and percussion, while Edward Baird provides classical guitar, dulcimers, mandolin and 12 string guitar.
The sound is hard to categorize but could probably be slotted in to the Folk Rock category alongside bands such as Gryphon. Although the spirit may be rooted in Folk, all the songs are modern pieces
written by the band.
John Gladwin has described the music as being essentially "English in the broadest sense. It's acoustic....It's got influences from the renaissance, the baroque and even the romantic era of Byron and Shelley".
The opening track 'Benedictus Es Domine' is written in the style of a Gregorian Chant with lyrics in latin set against an acoustic guitar backing.
However, the vocal harmonies, which are a major hallmark of this album, go far beyond what you would expect from Gregorian music. The track is further enhanced by the introduction of an organ in the final segment.
the entire album is laid out with the songs alternating with short instrumental passages which, for the most part, range between two and two-and-a-half minutes in length.
The first of these is 'Praeludium in D'. The guitar work is beautifully offset by the gentle relaxed woodwind sound which together creates images of lazy summer days with impressions of bird song.
This is followed by 'Highwayman' which, from a muscial point of view, is a fairly simple melody. The stunning use of both vocal and instrumental harmonies make this song really stand out.
This track is interesting lyrically, and the use of the flute make it a very catchy song that stays with you.
The next instrumental piece is 'Fugue' whcih features two guitars and a woodwind part.
The style is quite classical in composition and is not far removed from some of JS Bach's work. The woodwind and guitar theme is continued into the next song, 'Cawdor and Widdershins'. The sound here is slightly more uplifting but it is still a very mellow and tranquil piece. Again, the strong vocal harmonies prevail and the closing section, which has an almost Celtic theme, is very pleasing.
'Aubaird', at three-and-a-half minutes, is the longest of the instrumenatal pieces and is the first of two tracks written by Edward Baird (the other being 'Edagio' - a pun not a spelling mistake!).
This is a solo piece which features some very delicate and intricate guitar work during which it's nice to actually hear the finger movements working on the fret board.
The lyrics of 'Love Lies Bleeding' are extremely melancholic and yet at the same time represent some of the most poetic sentiment on the whole album. The pace is very slow and and laden with a sense of sadness,
but the result is extraorinarily moving.
'Edagio' starts off as another light meandering solo guitar piece, but about half distance a second guitar and woodwind join in.
Although this creates a much fuller and rounder sound, the same gentle pace is mantained throughout to great effect. Second only to 'Highwayman' comes 'Sir John in Love Again' in terms of favourite tracks. This is another great little song which curiously reminded me of 'Time and Space' by Gnidrolog.
'Interlude' is similar in character to 'Praeludium in D', with a light summery feel to it which contrasts well with the next track 'Road to Sedgemoor', which is written by Ternece Wincott. It tells the moving
tale of the Duke of Monmouth's attempted rebellion against the king which resulted in the last battle to be fought on English soil.
The vocals are enhanced with the addition of the Mezzo Soprano, Joan Crowther, which really adds a sense of power and feeling to the song.
The final track, 'Cawdor Revisited', is another instrumental that re-examines the theme laid down in the earlier song 'Cawdor and Widdershins'. The track is a pleasant enough piece but it makes use of
a slow fade out rather than a definite ending, this is a minor niggle admittedly but I cannot help thinking that a more emphatic close should have been employed.
I have not heard any of the band's earlier works so am unable to make any comments on how the sound has changed with the passing of the years, but I can say that this latest work is very well crafted, and the style
is both relaxed and mellifluous.
There is also sufficient variety on this album to keep things interesting and, all in all, the CD makes for very enjoyable listening. If you already enjoy bands like Gryphon or Fairport Convention then this could well be for you. If on the other hand you have never tried this type of music at all, this could be an ideal starting point. The album has been a long time coming but I for one really hope that there is more in the pipeline!
Simon 16th December 1999
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