Nicola

ジョニー・マー、バーナード・バトラー、レッド・ツェッペリン、ニール・ヤングなど、数々のアーティストに影響を与えた、バート・ヤンシュの傑作をオリジナル・テープからの完全リマスターでリイシュー!
フォークの概念を超越し新たなる地平を切り開いたバート・ヤンシュのソロ5作目(1967年発表)。大胆にもオーケストラやストリングスを導入することによって革新的なサウンドを構築した意欲作。当時のイギリスの音楽シーンに呼応するかのようなポップなアプローチが随所にみられるほか、後の「ニック・ドレイク」の登場を想起させる部分もある興味深い作品となっている。

Jansch's third solo album is perhaps too lightly dismissed by both folk critics and the artist himself. Bowing slightly to commercial pressures, he allowed orchestration to be used on five of the 12 tracks. Actually, the orchestrated cuts aren't that bad at all, and the remainder are pretty much keeping with the character and high standard of his other '60s work. Nine of the 12 cuts are Jansch originals, and ably display his nimble guitar work, incorporation of blues, traditional British Isles folk influences into a contemporary style, and his Donovan-esque vocals. For the first and only time, he played both electric and acoustic guitars on this LP; it's also his first work to feature drumming. Some of the orchestrated numbers, especially "Woe Is Love, My Dear," were actually deemed to have potential as singles. That didn't happen (the cut "Wish My Baby Was Here" would have been a better choice in any event), but that doesn't take away from their fey period charm. Nicola and Jansch's 1969 release, Birthday Blues, were combined onto one CD on a 1993 reissue. ~ Richie Unterberger|