Nash's optimistic, reassuring way with chasing its tail for something song poems is always joy.a And never constructive to play with. more so than now. "Oh! Camil (The Simply, nothing gels. There's no Winter Soldier)", a biting reaction to spirit of adventure, virtually no the atrocities of war, the tender texture/tone variation, a paucity in "You'll Never Be The Same", "Hey range and technique, near inspirational You (Looking At The Moon)", the bankruptcy. As an individual musician, jubilant "And So It Goes" and Kossoff's ambitions far exceed his delicate, moving "Another Sleep ability. What he needs is his former Song" are some of the best. discipline, desperately, in this day and Innocence, Sorrow, apprehension, age the point of jamming deathlessly Spiritual Affirmation by love — songs across one complete side i.e. "Tuesday to make you feel less alone. A Morning", is just ludicrous. Eric beautiful, sensitive . Clapton he ain't.

Darryl Hall and John Oates work through a more objective, musically "These Foolish Things" — Bryan complex approach, based on heavily Ferry. Festival/Island. Stereo.L.35015. augmented/orchestrated country Another burnt offering at the altar of ballads and a keenly inventive ear for ego — Bryan Ferry, Roxy Music's melody and arrangements. founder/leader/master of ceremonies, "Abandoned Luncheonette", their the Noel Coward of British rock and third set (second in Australia) sizzles newly elected Prince of Art Deco with all that's best in contemporary Roots Americana as seen by two Sleaze: "These Foolish Things", his first solo in the style of Bowie's "Pin veteran Nashville studio boys with that Ups" grants him the opportunity to Southern up-town sensibility and play Russian Roulette with a baker's laid-back nature.. A refreshing, dozen of his own favourite glowingly musical album with that special air culled from free, open mouldie-oldies. Dylan's "A Hard Rain's A-Gonna spaces. Nice one, this. Fall", Jagger/Richard's "Sympathy "Unborn Child" continues in the For The Devil", the Beatles, "You vein of Seals & Crofts' last two Won't See Me" and a host of golden , "Summer Breeze" (Warner haemmorhoids from Lesley Gore, the Bros/Stereo.BS.2629) and "Diamond Beach Boys, Smokey Robinson, Girl" (Warner Bros/Stereo.BS.2699) Goffin/King amongst others — with a collection of breezy, everything done with a blend of camp effervescent love songs, light jazz overstatement, foppish cynicism, motifs and persuasive country/folk parched dry humour, bulk haughtiness balladry — each track with that and pretention; everything done characteristic warmth, wide-eyed brylcreem slick and mostly vacuous. The ultimate in current British chic — "Wild Tales" — Graham Nash. wonder and joyful, accepting grace in W.E.A./Atlantic. Stereo.SD.7288. spirit. Seals & Crofts, as we have come a half-baked camp curio from Mr. Genuis-Is-Pain, Bowie's original "Abandoned Luncheonette" — to appreciate — Fair sky melodies "Cracked Actor" affectation in the Darr yl Hall/John Oates. bathed in sunlight, played with W.E.A./Atlantic. Stereo.SD.7269. reverence, gentility, poetic tenderness. flesh. "Unborn Child" — Seals & Croft. Another for the collection: the An album to prove how cool you are. W.E.A./Warner Bros. Stereo.W.2761. anti-abortion "Unborn Child", a host of gorgeous love ballads, Three warmly lyrical, vividly poetic "Windflowers", "Rachel" and the "Essence To Essence" — Donovan. albums lilting with melody, much love. delightful "Dance By The Light Of C.B.S./ Epic. Stereo.ELPS.3684. A whole new batch of Sunshine The Moon" highlight. musics: Donovan the minstrel eloquently "Wild Tales", the second Nash solo, restating the themes of his "Gift From "Back Street Crawler" — Paul a Flower To a Garden" ideology eloquently follows his oft-brilliant Kossoff. Festival/Island. "Songs For Beginners" one-more-time. Since his artistic peak Stereo .L.35066. (Atlantic/Stereo.S.D.7204) — a fine, circa "Wear Your Love Like memorable set of songs by the man As guitarist with the original Free Heaven"/"H.M.S. Donovan", both who gave C.S.N. & Young such through their first five albums, melody and lyric have lost much in the fortitude in heart. At times intensely Kossoff's economy, brevity, way of poetic distinction — only one reflective, always with such engaging cleanliness and insistent, hypnotic use or two tracks i.e. "Dignity Of Man", poignancy and simple, wistful charm, of simple lick/chord suspensions the lilting "Life Is A heightened and intensified the band's Merry-Go-Round", come anywhere penchant for moody, spatial near evoking the intensity, intimacy rock/blues — sometimes sinister, and poignant beauty of his former mostly menacing, always with depth,a work. Not a bad album but far from tastefulness and sense of dramatic hell his inspired, insightful best — "Essence fire that marked them aside as one of To Essence" verges, at times the truly great sixties' English outfits. dangerously close, on truism and

. A somewhat limited, not overly melodic cliche. Still, despite it all, • I imaginative nor inventive guitarist, there's "Dignity Of Man": Kossoff works best under strict back 'Make songa song maker bone discipline (as the third Sing of love sweet love instrument in Free sandwiched Do not make it shakera between Andy Frazer's superbly Make it move from above lyrical bass and the ever reliable Simon Sing it strong and gentle Kirke martial percussion). As a Sing it sweet and low demi-god virtuoso, the reason behind Let the words be simple his debut "Back Street Crawler" set, So that all may know — he lacks most every grace — like doga The Dignity of Man.'

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