JUST A COLLECTION OF ANTIQUES AND CURIOS - REVIEWS
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ANTIQUES REVISITED - Review by Glyn Williams
I was still at school when I was lent a tape of Antiques. That evening on the old Phillips mono cassette player (remember them ?) came this incredible voice and sound . . "Speak only with your voices . . ." This unusual, intelligent, gravelly voice commanded attention and was inspirational. Against the usual diet of Bee Gees and Beatles this sound was just magical. Antiques therefore remains a special album. But, after all this time would buying the CD be an act of loyalty or something more worthwhile ? The haunting opening strains of "Martin Luther King's Dream" ended any speculation. The song, retains all of its simplicity and authority, and along with "Benedictus", "The Man who Called . . etc", through to "Something For Nothing" maintains a great Strawbs tradition for classic opening tracks on their albums.
Antiques stood head, shoulders and abdomen above other live albums of the era for its sound quality. It could pass as a studio recording, with genteel Chelsea flower show style applause dubbed in. No foot stomping or chanting here folks. And on the CD, whilst there is no lyrics sheet (we know them all by now anyway) the excellent sleeve notes relate how Coretta King met the band and heard the song. It's a touching story, as is the father-daughter tale of the "Sad Little Girl", suffering her fever through the night but who "wakes up like a bird and she's fine again". This song was always my favourite on the album. "Her cheeks are flushed like sunset, her head's an open fire" - Ah they don't write 'em like that any more. The Cousins/Wakeman combination never sounded better than in this song. Flowing sensitive piano runs complementing the delicacy of Dave's lyrics make for a beautiful song which has faded none over the years.
"The Antique Suite" is an early Strawbs compendium - a forerunner to songs like "Down By The Sea", "Autumn", "Ghosts", etc. It's a lengthy and transparent tale of death. Whilst others sang about gathering at the river, Dave and his pen sploshed straight in and across to the other side. It's hardly the cheeriest of ditties but just when you think that the grim reaper is leading you into deeper depression up pops singalonga Tony with a chorus of "It's Good To See You Again" and suddenly the gloom lifts.
"Temperament Of Mind" is Rick's much praised party piece and as with so much of his best work is characterised more by the virtuosity of the performance than the originality of the music. Rachmaninov meets Scott Joplin and Mrs Mills (remember our Glad?). It's still irresistible and the CD sound impressive.
"Fingertips" is a bit - er explicit. Oh dear, when Dave eventually gets the Poet Laureate job he may have to lose this one. You didn't get this on a Bee Gees album and you could guarantee that your mum would walk into the room during "Fingertips". But the intimate and almost reticent vocals from Dave with the intricate instrumentals actually benefits much from the CD sound, and the song survives long after the schoolboy sniggers have died down.
"Where Is This Dream Of Your Youth" was never my favourite although with the CD I don't cut the album short like I used to with the LP. I always felt that the long instrumental bit was over indulgent for album but probably great live. Again, full marks to the CD where this instrumental leaps out as Rick indulges all possible variations within the chord sequence. On the CD though there is another reason not to switch off - for this is the track leading into the epic "Vision Of The Lady Of The Lake". It's a long graphic tale of lust and temptation, building up to a dramatic finale. This remastered live version beats the Dragonfly studio track hands down and over the first half reminds me so much of seeing Dave - just him and his guitar at some folk club, performing at his very best to an almost eavesdropping audience. Then as the band joins in so the passion gets almost to "Hangman" levels as the damsel whips off her bra and leads the wretched boatman into . . . . well listen to the CD and check your insurance premiums guys !
"We'll Meet Again Sometime" and "Forever" are the other 'bonus tracks' although frankly you've had your tenner's worth and more besides by the time these arrive. "We'll Meet Again" is reminiscent of the earlier Preserves Uncanned era with some tasty Wakeman runs added. And it's good to hear more vocals from Tony. Apart from Dave, Tony alone seemed able to understand and present Dave's lyrics. The combined and very diverse vocals of Dave and Tony were always Strawbs singing at their best and are sadly missed (except "Evergreen") in later albums. "Forever" is included because it is "from the period". It's generous of A&M but looks a bit odd against the live material.
My Antiques LP so often had to wait for airtime behind later more famed efforts. But the CD is different. It doesn't have to get into a queue. And it's wonderful to enjoy the old album, with its additional material, genuinely in a new fresh light and not just because I remember how I liked it years ago. Well they do say that nostalgia isn't what it used to be.
RICH VARIETY OF TEXTURES - Review by Dick Greener
Antiques And Curios was the second Strawbs album I bought after Grave New World. (I'd borrowed copies of Dragonfly and Bursting from a mate and neglected to give them back for a long while, mind). At the time I probably gave it an equal hammering with the others, but over the years, it's become one of the less played albums in the collection (I'm not a great live album fan). As I listened to it this morning I was struck by the richness and variety of textures in it.
Album opener - a Strawberry Hill Boys oldie "Martin Luther King's Dream", a singalong folk troubadour epic which benefits from the newly acquired rhythm section/backing vocals of Ford and Hudson, and a short but appropriately churchy organ break from Wakeman.
"The Antique Suite" for me is the star track of the album which draws on the folk epics of the previous albums "The Battle" and "Vision Of The Lady Of The Lake" but instead of 20-odd verses of the same pattern, forms a complex multi-part suite: that added indefinable something which would become Strawbs' trademark over the glory years. I see it as the direct ancestor of "The River/Down By The Sea", "Life Auction", "Ghosts" and the like. Harpsichord very much in evidence in the early stages, I'm struck by the light and shade in Cousins' voice, the helpless, hopeless quiet voice in the third section helps "to bring about a sense of loss" and the bridge - "just a collection of antiques and curios" - before the piano, harmonies, singalong finale. I'm also struck by how much tambourine there is on the album - I think as often Tony Hooper as Hud, who's on conga or sitar duty much of the time. It went well on the night - you can hear Hud's little conga fill at the end as the applause fades - appreciation for a fine song and a job well done.
"Temperament Of Mind", the piece bringing Rick Wakeman to the forefront of the rock circus back then, still stands up today as a thoughtful piano solo, well conceived and delivered.
"Fingertips" (Dave C has referred to this as a "thoroughly mucky song" - it must have been amusing, and possibly mildly risky to play this at the Queen Elizabeth Hall in July 1970!) in many ways encapsulates the variety of sounds available to the Strawbs at that time - Hud on sitar, Dave on dulcimer, with a third melodic strand provided by Wakeman on muted organ - just listen to that instrumental at the end, as the three strands interweave beautifully, underpinned by John Ford's percussive bass. Splendid.
"Song Of A Sad Little Girl", the vinyl version missing most of the Wakeman piano introduction, lovingly restored for the CD re-issue. It showcases some intricate acoustic guitar work from Cousins, ending with the boisterous refrain, before subsiding into a gentle coda.
The finale for the original vinyl edition, a retro of "Where Is This Dream Of Your Youth" - slightly ragged in some ways (it was the last number of the concert before the encores) but dragged along by the congas until Wakeman takes over for some virtuoso keyboard-bashing a la Keith Emerson. Interesting that the same riff also appears in "We'll Meet Again Sometime", which I believe was the first song they played that night, and which, rescued from rarity and obscurity as the B-side of the withdrawn "Witchwood" 45, also appears on this CD as a bonus track.
"Vision Of The Lady Of The Lake" was also performed at the concert - a two hander with Cousins and Wakeman (the latter had after all played on the album version and, reputedly the others could never be bothered to learn it in all its 28 verse glory). One might think that, shorn of studio trickery, the song might lack some of its bite, but with Cousins' thrashing chords, and Wakeman dipping in and out, Cousins' voice alone, harshly dripping with alternating loathing and despair, drives the song as effectively as the recorded version, a feat rewarded by the enthusiastic applause at the end.
"Forever" is (sadly) not the version performed that night - I lobbied to put that on the proposed 1998 boxed set and again for Taste Of Strawbs- but the A-side released contemporaneously with the concert in July 1970, despite having been recorded for the Dragonfly sessions and not really representing the current band line-up or positioning at all. Still, it's a lush one, with the basic acoustic track overlaid with various strings and orchestrals. Interviewed about the single, Cousins commented back then:
"It started with some 12-string guitar chords that demanded a lyric. We laid down a backing track several months ago. Clare, the girl who used to play cello with us, is on it. Then Rick, who joined us on keyboards just about the time that Clare left put some organ on to it. A&M heard it and liked it so they added a few strings, a few French horns and the girls. It needed an orchestra to finish it. Then we did the vocals and it still didn't sound big enough. So we went and sang it in the lavatory in Trident Studios to get the echo right, and emerged flushed with success. Joke.
So altogether we've been working on it since last October. It must have cost a fortune. But A&M seem to believe in it. They are giving it a Radio Luxembourg promotion for three weeks. It's quite an unusual song, quite different from anything we've done. It's much lighter."
Hooper added: "It's more commercial than usual. I don't mean it's just rubbish, but it has wider appeal."
The master tapes of that concert included many other treats: "The Man Who Called Himself Jesus" was included (I imagine you'd get a good idea of how that played out from the version in the opening acoustic set on the 2000 tour). "Or Am I Dreaming", "The Battle" and "Josephine For Better Or For Worse" also got an outing, as did Cousins' political number "It's In Your Hands", aimed at the youngsters only recently given the right to vote, and a sitar'n'bass instrumental "Raga And Lime" from the ex-Velvet Opera team. And the last encore was a spoof version of the Shadows' hit "Dance On".
Antiques II - a dream for my old age ..... (but at least we have Recollections where similar material appeared).
ONE OF THE MOST INCREDIBLE LIVE ALBUMS I'VE EVER HEARD - Review by John Bartolick
This album is an example of how Napster actually HELPED a record company. I had passed up ample opportunities to pick up new and used vinyl and the remastered CD a million times for various reasons over the years. I downloaded a couple of samples of A&C from Napster and got hooked and went out and got the CD, which I can almost guarantee I wouldn't have done had it not been for Napster.
"Martin Luther King's Dream" is to me classic Strawberry Hill Boys. The organ part reminds me a little of "The Hangman And The Papist" in that it really doesn't (to me) seem to fit and feels like one of the cases where they had Wakeman and didn't quite know what to do with him on some numbers.
"The Antique Suite" and "Fingertips" both strike me primarily for the depth and quality of the numbers; for a live performance they strike me as pretty gutsy pieces, particularly for a band that didn't have a lot of rehersal time from what I understand. Most bands just weren't doing that kind of live material in those days. And how often do you get to hear sitars and dulcimers playing together?
I don't have much of an appreciation of the piano, so "Temperament Of Mind" is wasted on me. You don't hear that kind of playing on 99.9% of rock records, and that in itself probably sets it apart, but I bet I can pick up some superior playing on classical records pretty easily. So I guess it strikes me as a novelty piece, but what do I know?
On the other hand, I've always thought the interplay between Wakeman and Cousins on "Song Of A Sad Little Girl" was great and stands as one of the best examples of Wakeman's integration with the band.
"Where is This Dream of Your Youth" is more of what I would have expected of a live cut of an album track from a band of the era - O.K., but suffering a little from the adrenaline of the live performance. I like Wakeman's organ work on this one.
"The Vision Of The Lady Of The Lake" amazes me for some reason. Other than Bob Dylan, people just didn't write songs like that. Doesn't Dave Cousins know that songs must have a two verses, a chorus, and a bridge? Again, the left brain, right brain team of Wakeman and Cousins really blows me away on this one.
I always liked the version of "We'll Meet Again Sometime" that appears on Dave's solo album. I think I understand why the live version didn't make the final cut on the original vinyl release (Tony's vocal, though powerful, has a couple of weak spots). I actually like the raw feeling of this version, which stands in stark contrast to the near perfection of the rest of the album (a little feedback on "Antique Suite", a bit of a rush on "Dream of Your Youth", otherwise flawless); I wonder how much cleanup they did in the studio. This cut is actually one of my favorites on the remastered version.
"Forever" was a waste; I would have much preferred another live track, no matter what condition it was in.
All in all this album is one of the most incredible live albums I've ever heard. From the restraint on the part of the rythym section to the track selection to the fusion of folk and classical influences, this album is a really incredible collection. I can see where it wouldn't be for everybody, and I can think of periods in my life where I wouldn't have given it a second listen. But for now it was one of the best pickups in recent memory.
Comments from Witchwood - the Strawbs Discussion Group
Bobby Williams
A&C was also the second Strawbs album I bought. Just a quick note before I do my full review: I really enjoy watching how quickly Dave Cousins can change the tuning of his quitar. I spoke to Dave Cousins about his use of various tunings on quitar when he volunteered that for this concert ( A&C) he used too many tunings to count! "The Antique Suite" alone required him change the tuning on his guitar 12 times during the performance! That must set some type of record. I guess that the various tunings (and capos) would explain a lot of the really cool guitar voicing you hear on this (and other Strawbs) albums.
David Claridge
I first heard this when I left school and started work. My boss at the time had this and Tie Salad (aka Strawbs) on cassette. The acoustic start to "Antiques Suite", and when the harpsichord joins in, is one of those tingle-factor moments for me. It seemed so familiar when I first heard it. That and the Tie salad's 'troubadour' sound did it right away. For me, "Antiques Suite" would be on my desert Island Disc list. Have never looked back since.
Ian H. Stewart
I purchased A&C because I was just buying everything that had the Strawbs name on it, after hearing Hero And Heroine. I can remember not being that impressed by it, too acoustic for me at the time perhaps. I bought the CD about a year ago and am now re-enlightened. How I missed the instremental on "Fingertips" I will never know. The bonus tracks are wonderful, because I love a live version of anything.I play Antiques and Curios when I need a change of pace. And I marvel at the changes the band went through musically, from that concert on.
Omaha Steve
Scene 1. A young man of 19 yrs, is browsing through the local record shop looking for something, altho he's not sure what it is, he does know that it has to be different from what his friends are listening to. He picks up a copy of Just A Collection Of Antiques And Curios by a band called Strawbs. It is their first U.S. release."Wonder what these guys sound like?", he mutters to himself. Turning the jacket over to read the info, he sees that the band is 5 guys sitting around in a tavern drinking beer and smoking cigarettes. Noting the names and instruments played, and the fact that it's a live album, he presumes that it could be anything from folk, rock or country music.
I'm glad this came up for review.When I first bought this album up in late '73, I had already been exposed to Bursting, GNW and Witchwood, all purchased at the same time. This would have been the first U.S. release by Strawbs. As a concert album, it is very good, though, at the time I didn't know much about their history. I just knew that I liked the others, and this one would be added with great pleasure.
Rather than go into detail about the songs, I will say that Side 1 of the original record, is excellent. Side 2, I liked for the song "Sad Little Girl". As much as I enjoyed hearing the band in a 'live' setting, this posed more questions than it answered. I couldn't help being intrigued about an album that for all purposes, was in essence a pleasant folk-type album.
I had always presumed that live albums were a way for management to cash-in on a group's popularity. Generally released around the holidays, or if the band was having problems, or that they had a bunch of 'hit' songs they wanted to play live. Fortunately, the answers were none of the above.
What made this album so unusual at the time was the fact that it was the first album by a relatively unknown band (in the States) on a major label, and it was live. So, not knowing anything, I had wondered if there were studio versions of these songs, then realized that they were already as good as they were going to be, and little else was needed for improvement.
Fast forward to mid '74. I've just bought an import album by Strawbs called By Choice . It is formatted in a chronological fashion, with comments by Dave Cousins. This would be the first time that I'm actually reading his thoughts on the evolution of the band. So I was quite surprised to find that there were two previous albums prior to Antiques plus a couple singles. I would eventually find these two on a Canandian pressing called Early Strawbs along with Dave's album Two Weeks Last Summer...
Ken Levine
Antiques is definitely a transitional album, marking the first lineup that could be construed as rock in the broadest sense, but this is really not a rock album. It is an odd sort of live recording too, apart from the exceptional production for its time or any other time. It features five out of six original songs that at the time had seen no real release in studio format, the only exception being "Where Is This Dream Of Your Youth", which bears little resemblance to the studio recordings that appeared before. So it was not the type of recap live album that most bands put out but rather a live statement of direction. As it turned out in this part of the band's history as in most others, the direction did not last long!
"Martin Luther King's Dream" starts well, gentle strumming with Wakeman's organ judiciously used with a bounciness in the verses that would become more typical of Strawbs later on. "The Antique Suite" as an overall work is brilliant, with the whole far greater than the sum of its parts, although the third part in which Cousins utters the album title is a highly evocative drone and foreshadows the gothic quality of later work. "Temperament of Mind" is not one of Wakeman's better solos but is testament to his talent and how it could not long be contained within the restrictions of a largely folk outfit.
I still can't really warm up to "Fingertips" but I acknowledge that the instrumental really cooks - seems like I never gave the song much chance before. "Sad Little Girl" is so much better when it incorporates the lengthy intro by Wakeman and this is probably the Strawbs song in which he best blends with the other musicians, neither overpowering the other. I love this version of "Where Is This Dream" with its extended jam seemingly influenced by and influencing the prog movement of its day. It is quite unlike almost anything else the band has ever done.
The additional tunes are all strong. "Lady Of The Lake" wants Paul Brett's guitar and Clare Deniz' cello in parts but is still powerful. I think the version of "We'll Meet Again Sometime" is better than the one that appeared on the British Halcyon Days, a bit less predictable. Cousins felt it was a bit thrashy but I'm glad it was included. And I have already said that "Forever", while a divergence for the band, is a beauty, one that a lot of non-fans like. It is a period piece with qualities of what the Moodys and even Bread were doing at the time. It is vexing how it did not chart.
In sum, a landmark album for many reasons and a very high quality disc even if it does not move me quite as much as the subsequent half dozen or so studio albums.
Mike Gebhardt
Antiques and Curios was the first Strawbs album I bought after GNW, while I was working backwards through the catalogue. I have always found it to be a *very* interesting piece of work, as has been mentioned, way out on a limb being the first output of a new line up and a live album at that....
All I can say about the record in general, is that I most certainly wish I had been there. Every piece is a gem. Although, as others have mentioned, I find that personally I must be in a certain mood to listen to it. Pensive comes to mind as a good description. A great album to listen to while in a quiet, thoughtful mood. Especially late at night...
Doug LeBlanc
I'd always considered this a 'growth' album. The Strawbs were just developing their sound, as well as their concepts, at the time it was recorded. This is not a criticism of the work; far from it. I've always loved this work, with it's moody images, and spiritual themes. The folk feel to it is absolutely beautiful, and it is a delight to listen to. A far different type of Strawbs compared to the later days with Lambert, but excellent playing. I have to admit, though, to not being very partial to Wakeman's "Temperament of Mind". I would rather have had another Strawbs song in its place, rather than a solo, no matter how good. "The Antique Suite" has always been very special to me. It has always been a very hopeful song, where a man who leads a very lonely life is finally given the comfort he so desperately craves, as he hangs on to the memories of a love that once was. In the end, he is reunited with old friends, and has all that his heart desires.
Moreso on the remastered CD, the playing is superb. Wakeman's keyboard work really comes alive, and "Where is This Dream of Your Youth" eclipses the original, and "Fingertips" sparkles. The extra tracks are a dilemma for me. "Lady of the Lake" is an excellent track, but wears thin all too easily for me, perhaps having heard the song too mnay times over the years. On the other hand, "We'll Meet Again Sometime" has been a huge favourite of mine from the first time I heard it. Of them all, I still like the version from Two Weeks Last Summer best, but I love this one as well. "Forever" is an odd song. I can't get used to it as a Strawbs song. It's a beautful song, it just doesn't sound like the Strawbs to me, save for DC's voice.
I know there are those who would undoubtedly prefer the electric Strawbs with Mr. Lambert to this period, but for me there's always been a kind of comfort in this work that's unlike any of the other Strawbs albums. Perhaps it's sentementality on my part, because I see the loneliness in my life reflected in the character in "The Antiques Suite". As well, "Martin Luther King's Dream" to this day reflects my own feelings toward predjudice. "Song of A Sad Little Girl" makes me feel like the time as a child when I was very sick, and had to stay in bed all the time. There was a peculiar feeling to that time, captured in this song. Overall, a wonderful album by the Strawbs, and a personal favourite of mine for many years.
Richard Poulin
Funny how the analysis of Antiques And Curios brought back the recurrent topic of the Strawbs' audience as a commercial band, or at least coincided with it. Of course there is the Rick Wakeman-Yes connection to account for the turmoil about Yes or the Moody Blues being greater than the Strawbs. I don't think that this kind of debate will lead us anywhere, but it is still interesting to know about the individual tastes of the other Strawbs aficionados. I used to love Yes and Moody Blues, but their music does not have as much appeal to me as that of our beloved group anymore. I did not recycle my Yes and Moody Blues vinyls into CDs, unlike for the Strawbs in my collection. Yes and the Moody Blues are so much different from the Strawbs, anyway. I think each one of these great bands occupy a unique niche in the universe of progressive/epic/concept rock, whichever term you prefer. I think that each band deserves a unique place in the pantheon of rock music and has created a genre of its own. Not exactly what I would say about the main current players in contemporary rock/pop.
That being said, I would like to add a word or two to the excellent analyses posted thus far on Antiques and Curios. That album was the second or third I bought shortly after I discovered the group with GNW. I'm talking about 20 years ago. I must confess that I was a little disappointed with the first track (I would rate "Martin Luther King's Dream" as a good protest song, but a little naive). But, man! "The Antique Suite"! What a creative piece of music! The baroque instrumentation, the range of emotions, the quality and sincerity of DC's voice on this suite, everything moves me as much as on my first hearing. To me, the "Suite" crystallizes the best that the group had to offer as an acoustic folk band, and is a masterpiece in its own right.
"Temperament of Mind" reminds me a lot of Rick Wakeman's first solo album ( The Six Wives of Henry VIII - I can't remember which wife though), and is essentially a one-man show that has little to do with the Strawbs [well, except that Cousins, Lambert and Cronk join Wakeman for one track - DG]. But nevertheless, what a keyboardist they had then!
"Fingertips" is one of the loveliest ballad that DC ever composed. I find it full of moist sensuality, I just love the instrumental end, and never had to turn down the volume while listening to it since my parents did not pay attention to the words (remember, French is my mother tongue). I had a very pleasant surprise when I bought the CD version to hear the as yet unreleased piano intro to "Song For A Sad Little Girl". Again, I have always been moved by that song that I appreciate even more than ever before when I think of my daughter when she was younger. Why was that piano intro cut when the vinyl was produced? It adds so much musicality to the song! When I recently played "Where Is This Dream Of Your Youth?" to my daughter and my girlfriend, I got goofy comments at how old-fashioned the guitar and organ sound to contemporary ears. And yet, I don't find that the musical part has not aged elegantly. I just love the 'muted' sound of DC's guitar, and Wakeman's pyrotechnics still lift me up. Probably nostalgia.
And now the extras:
"Vision Of The Lady Of The Lake"; I cannot honestly say that I really liked the original version on Dragonfly. As some of the previous analyses mentioned, that kind of epic song suffers from a bit from its structure and length, unless you're an unconditional admirer of Dylan. That version had also the same weary tone as the rest of Dragonfly, a dark feeling that sometime caught me. The live version is interesting, although I find DC's rendition of the dramatic crescendo a little overdone. No, I have trouble really liking that song.
The version of "We'll Meet Again Sometime" is inferior to that found on Two Weeks Last Summer (I'm addicted to Cousins' voice, what more can I say?), but is still quite good.
And "Forever". I did not know the existence of that song, and I was taken by surprise. I cannot find the words to express how deeply moved I have been by that song - which clearly belongs to the Dragonfly period to me. The restrained voice of DC on that song is very unusual and works extremely well for conveying the almost spiritual theme that it inspires. I don't care that it reminds of the Moody Blues. It simply works and hits me straight to the heart. "Forever" now ranks for me among the very best songs by the group.
Rob Marshall
I just wanted to add my 2 pence to the excellent ongoing discussion regarding the Antiques and Curios album - which (in my humble opinion) is an excellent Strawbs album.
I always felt that the high points of the album were the two epics: "Antique Suite" on Side 1 and "Dream Of Your Youth" on Side 2; with "Martin Luther King's Dream" and "Temperament Of Mind" as the strongest of the shorter pieces. (By the way, much of "Temperament" is included in Rick Wakeman's "Extracts From The Six Wives" on Yessongs; which is obviously a bit of a misnomer.)
I see this album as one of the bridge albums (along with Witchwood) between the folk Strawbs and the progressive rock Strawbs. Although very obvious to those familiar with Strawbs' catalogue, it should be noted that the instrumentation is almost entirely acoustic - there are no synthesizers and/or mellotrons, and very little electric guitar. Wakeman would wait until From The Witchwoodto debut his synth and mellotron - for Antiques And Curios he plays organ, piano, harpsichord, and celeste. The inclusion of the harpsichord, and especially the celeste; along with Dave's dulcimer and Hud's sitar really gives the album a nostalgic appeal. The focus on "old world" instruments, along with the front cover picture of tastefully arranged antiques, and the back cover picture of the band relaxing in a classic-looking English pub made the album, in my mind anyway, a spiritual cousin to the Kink's Village Green Preservation Society album.
When the band rocks the house down on "Dream Of Your Youth" and "goes electric" at the end of the album, can be interpreted as a forshadowing of where they were headed; and contrasts starkly with the acoustic instrumentation on other tracks on the album. The overall effect seems to have a lot of parallelism with Dylan's move from folk to "electric" in the sixties. Fortunately, as evidenced by the rousing ovation following "Dream Of Your Youth," the Strawbs' fans showed much stronger support for this move than Dylan's fans did at the time.
Steve Pritchards
This album has always been a favourite of mine, as soon as I could I got hold of a copy back in 1972 ish, simply cos I'd fell in love with the music and here was an album of live music by the same line up that did Witchwoodmy first purchase.
Curiously it has only recently occurred to me that this was a huge gamble by the band at the time, on account that up till then (and almost ever since) bands generally released a studio album and let fans get used to the songs before releasing a live album. The Strawbs didn't bother with a studio one and went straight to a live album with entirely new songs. I can only think of Rick Wakeman's Journey to the Centre of the Earth taking the same route. Bet their management were impressed, well done to A&M for going along with the idea.
Anyway the album......
It's hard to dissect it song by song as the whole album is full of strong outstanding songs and superb musicianship. Rick's playing fills out the sound so well and really comes to the fore on his own composition "Temperament Of Mind" and the storming lead keyboards on "Where Is This Dream Of Your Youth". DC's writing is on top form,the sublime "Antique Suite" with it's 4 linking parts telling of a man's final moments and of what might lie beyond, this is definitely music to make you think and yet entertain as well and no parent could fail to be moved by "Song Of A Sad Little Girl". As for "Fingertips" I used to play this low if my parents were about, didn't want them listening to closely 'case they thought I was being corrupted; funny I do the same now if my kids are around, though my 7 yr old son has already discovered "Boobies" thanks to "Titanic".
I know there are those who feel the Strawbs never got going till Dave Lambert joined the band but I get as much a kick out of listening to to this and all the earlier "folky" albums as I do with the later stuff. Personally I think DC's lyrics were much stronger during this period than later on. You don't get an equivalent of "The Battle" or "Lady Of The Lake" or even "The Antique Suite" mind you is has to be said that those types of songs are not suitable for a more rock orientation. 'Tis my humble opinion of course which no doubt will be questioned.
Finally the inclusion of the bonus tracks on the later CD just made this brill album even better. "Vision Of The Lady Of The Lake" is a classic Cousins song with just DC and Rick playing an event in itself.
"We'll Meet Again Sometime" another view of the aftermath of death (DC had an unhealthy interest in this subject methinks) this time from the those left behind. It's a lovely sentiment and one I might request should my wife predecease me, that's if I have the strength to listen to it without breaking up. Lastly the production on this album is excellent both vocals and instruments come across clearly and distinctly. DC's voice is a joy to listen to as is Tony's. It also shows up the bands musical ability, no overdubs or numerous attempts to get the track right as in studio albums, it was live and they only had one shot at getting it right........ and DID they get it right!!!
Tom C
I think Antiques And Curios is a great CD and is one of my favorites. I remember when I first bought it, the guy who ran the import section at Tower Records told me that Antiques was not his favorite Strawbs CD. He has heard some songs by Strawbs but wasn't a big Strawbs fan. I told him to get in as many Strawbs CD's as he could order so he would always order stuff that would tickle my fancy like Gentle Giant CD's that were hard to find at the time. Anyways he recommended Grave New World and said it was his favorite. So that is the first Strawbs CD I bought....Then I went back and bought Antiques And Curios, although he said it wasn't good in his opinion. So I got home and listened to it and I really loved this CD. I love "The Antique Suite" and especially where Dave sings "Hey it's been a long time, it's good to see you again" That part reminded me of Genesis for some reason...but that is a good thing
I think of this album as the "Strawbs Unplugged" with "Where is the Dream of Your Youth" and the congos going and the electric guitar isn't real loud, kind of restrained. The other song I liked a lot was "Song of a Sad Little Girl" which reminded me a little of Crosby, Stills and Nash. But the Strawbs were a unique band with a unique sound. I don't know why I think of other bands like Genesis and CSN when i play this CD. It's one of my favorites and I think it fits right in with the other albums that came out before it. I will agree that Rick Wakeman's keyboard playing was a little off even. He sounded like he was trying too hard to fill in spaces and not knowing what to do; From The Witchwood was a much better album as far as Rick's playing goes...That is just my 2 cents.
Neil Punnett
Antiques and Curios - sorry, I like it. "Fingertips" was the first song of the Strawbs that I ever heard; it affected me a lot at a tender age, partly for the obvious reason, but mainly for the hypnotic quality of the sitar-led instrumental playout. I still love that song. There's also a spine tingling moment in "The Antique Suite" which still sends a shiver down my spine; I love Tony's singing "Take my hand and I will lead you safely.... etc."
Dick Greener
It was the second Strawbs album I bought - after Grave New World - so it came as a bit of a surprise and probably was the least played of all the albums as I collected the back catalogue way back in 73-74. I'm not a big fan of live albums - they are a record of the moment and in a way only need to be listened to once (ideally when you're there - wish I had been! Was anyone on this list at the QEH on 11 July 1970?)
These days, whilst it's not in the top 5, I think it has some cracking songs - "MLK's Dream", the superb "Antique Suite" (which is a sign of the multi-part Cousins epics to come) and the highly unusual "Fingertips" (which I used to skip over but these days probably play more than anything for that super instrumental at the end). I know "Sad Little Girl" is the track usually excerpted for compilations (probably because it includes some Wakeman tinkling, I should think and record compilers think - oh, Rick, he'll sell a few copies) but actually for me it's one of the so so tracks on the album. "Where Is This Dream" is great but I have to be in the right mood and wouldn't normally have a burning desire to hear it.
Paco Fox
Well, in this that could be labeled as the 'Amazing diverse Tastes' Era of the Witchwood Land, I must stand as a paladin in defense of Antiques and particularly, "Song Of A Sad Little Girl". I love that song, from Rick's beautiful intro to the somehow naive lyrics. One night, my fiancee was ill with a bad temperature, and I put on some music to ease her. Usually, Enya is great for these moments (or maybe Lorena McKennit, the only artist that has been able to calm me through a 40ºc temperature), but it wasn't working. So I slipped "Song Of A Sad..." in the CD player... and I can't say that "she was fine again", but it helped. Ok, maybe it's not a very interesting story, but since then I have loved that song.
I must also say that "The Antiques Suite" is one of my all time favourite songs. I love the lyrics (the first part always make me think of my deceased beloved ones), and the mood of the song. The medieval feeling of some parts is for me priceless and I've found few songs to match it (umm... I also love the medieva feeling of "Oh How She Changed"). Curiously enough, I'm not that fond of "Fingertips". It is not that I don't like it, but... it may be an acquired taste, like the time that took me to appreciate, for example, Two Weeks Last Summer or Hummingbird. And, as Mr Greener said, my liking for "Where Is This Dream..." depends a lot on the moment.
Lindsay Sorrell
Must admit I find it astonishing that some of you guys don't rate Antiques and Curios - I was transfixed the first time I heard it and still become totally absorbed and transported to a far off place whenever I think to play it.
I know it's not perfect in terms of sound quality, being "warts and all" live, but that's what I love about it, it's so REAL. I remember Christine and I being played Antiques by our mutual boyfriend of the time, XXXX XXXX (who, being male, was totally oblivious to the fact that he WAS our mutual boyfriend).
I think he kind of regretted playing it to us because once we'd heard Antiques and Witchwood we wouldn't ever let him play his boring Five Bridges or Creedence Clearwater Revival stuff any more. I remember poring over the back of the Antiques cover, the one with all their heads on it not the one in the pub cover, arguing who must be who. (you know, "he looks like a Rick" type stuff).
Ah, memories.....
Christine Horsburgh
Lindsay, I DID NOT fancy XXXX XXXX (not then anyway!), I fancied YYYY YYYY who was there as well when we heard Antiques for the first time. After all, he could play Creedence songs on his electric guitar and he was tall for his age (14!) I remember Paul saying (about Antiques) "you won't like this" as he put it on. I adored it on the first hearing, especially "The Antique Suite" - I also remember the embarrassment of the three adolescent boys as "Fingertips" came on, whilst Lindsay and I acted all nonchalent and worldly-wise. They visibly relaxed after "that" word was finished - I don't think they had a clue that the rest of the song was also anything to blush about. Ironically, much later we were both asked out by our respective crushes but the moment had gone and we declined, although we're both very grateful for the introduction to Strawbs.
Dr Laurie Miles
I love Rick's twiddly bits (!) so have always loved Antiques. A friend of mine at school who was not generally into Strawbs taped "Where Is This Dream" onto his higher quality reel to reel recorder (remember them?) rather than onto cassette, as he thought it was one of the most exciting tracks ever. I still feel this way about it.
"The Antique Suite" and "Martin Luther King's Dream" are superlative songs, and Rick's "Temperament Of Mind", I feel, is actually better than the Yessongs version, as I found the latter a bit gimmicky (Halleluia Chorus). "Fingertips" had to be played when no-one who would disapprove was around, and the song I liked least was "Song Of A Sad Little Girl" - but even this has grown on me in recent years. All in all, I love this album - and I bought this 4th after Bursting At The Seams , Witchwood and GNW.
Richard Poulin
I do like Just a Collection... a whole lot myself too. (By the way, Dick, isn't it written LIVE on the cover? ;-). It is for me a unique document of the period I prefer in the carreer of the Strawbs, and in bonus, you get magnificent playing by the Caped Twiddling Master - oh do I love these harpsichord twiddlings in the first part of "The Antique Suite"! But Rick is always kept on a leash and his playing never obscures anything. He has his moment of glory with "Temperament Of Mind" (and as with Sandy Denny and "WKWTTG" (no, that's not a peptide), you get the chance of hearing the original of a great piece of music that featured himself for a long time during his first (Cambrian) Yes period. I agree that "Temperament of Mind" is much more accomplished and much less sort of flashy-look-how-fast-I-can-change-tempo-hey-Emerson-try-to-do-that than the Yes version of it (whatever is the name again?) that you hear on Yessongs, as the Doctor said (see below).
It is a superlative album, very inspiring, full of unusual arrangements, probably the most baroque (in the true sense of the word) of the Strawbs' opus. Any serious amateur of the group should know that album. And last, but not least, isn't "Fingertips" one of the most sensual poem Cousins ever wrote. OK, it may sound corny perhaps for an Anglo-Saxon ear, but to a French ear, the words are very well digested, and the music is just magical. For the teenager-young-adult I was when I heard it for the first time, I could picture the girl and Dave on the grass, toying at each other. How exciting.... I had chills down to my very inner self :-)