Continuing the trend of merging rock and British folk music as exemplified by Donovan, The Incredible String Band, and the then relatively unknown Roy Harper, the spring and summer of 1968 warmly welcomed The Incredible String Band’s third studio album, The Hangman’s Beautiful Daughter and Pentangle’s and Fairport Conventions first studio albums, both self-titled.
Released in March of 1968, The Hangman’s Beautiful Daughter continues much along the lines of the Incredible String Band’s two earlier albums, with Robin Williamson continuing to extend his cache of musical weapons and share writing responsibilities with fellow band-member and multi-instrumentalist Mike Heron. As on the previous album, Williamson and Heron supplement this recording with additional musicians.
The first time I heard this group was around 1972 from their inclusion in a Warner Brothers’ Loss Leader compilation. Starting around 1969, Warner Brothers released $1 compilation albums of their artists, and these albums were my first exposure to Van Dyke Parks, Pentangle, Steeleye Span, Family, Curved Air, and Martin Mull, and the Incredible String Band. I remember anticipating what a band called “The Incredible String Band” would sound like and when I got to the track, the next to last track on side two of the two LP set, I was disappointed as I was expecting a large string ensemble or exotic bowed instruments as opposed to a small folk group.
So its only lately again that I have explored the music of Incredible String Band, and for the most part it still isn’t music that excites me. I have avoided including mention of them in “Fifty Year Friday” as I like to stay with albums I really like, but due to the historic importance of this band, its appropriate to acknowledge both them and their third album in this particular post.
The Hangman’s Beautiful Daughter certainly includes a wonderful mix of instrumentation and it is peppered with many interesting moments. The unconventional instrumentation and the use of 24 track technology enhances the underlying compositions and provides a level of sophistication to the music. Unfortunately, the music is overly repetitive, and not particularly adventurous melodically or harmonically, often suffering from lack of originality (“The Minotaur’s Song” is clearly modeled after Gilbert and Sullivan.) The highlight of the album is the thirteen-minute “A Very Cellular Song” which incorporates a diverse set of musical components and textures, but unfortunately none sound particularly original and the repetition of the melodies borders on annoying. The following passage provides an example of this — each couplet is a repetition of the melodic “couplet” and so gets a bit tiring as there is no development or contrast throughout this section:
And I bid you goodnight, goodnight, goodnight,
Lord, I bid you goodnight, goodnight, goodnight,
One of these mornings bright and early and fine,
Not a cricket, not a spirit going to shout me on.
I go walking in the valley of the shadow of death.
And his rod and his staff shall comfort me
Oh John, the wine he saw the sign
Oh, John say, “I seen a number of signs”
Tell “A” for the ark that wonderful boat.
You know they built it on the land, getting water to float.
Oh, tell “B” for the beast at the ending of the wood.
You know it ate all the children when they wouldn’t be good.
I remember quite well, I remember quite well.
And I was walking in Jerusalem just like John.
Goodnight, goodnight, goodnight.
The quality of lyrics is also a challenge for me. In some cases the lyrics appear to be written first and the music added as an afterthought and in other cases the lyrics seemed to have been improvised over the music, as if by trial and error, until they sort of stuck. Overall, I don’t hear an abundance of craftsmanship or refinement in the lyrics or the music.
And so, this is not an album that I find completely engaging. Yes, there are some good moments and good music, including the opening track if it was less repetitive, but there is too much content here that comes across as stream of consciousness or improvised inspiration that is then extended and over-repeated. At a minimum, I expect an album to keep me entranced and ensnared — not covertly coaxing me to consider what else I could spend my time listening to.
That said, this is a critically acclaimed album, nominated for a Grammy and is rated five stars by both Rolling Stone Album Guide and by allmusic.com. It was also influential for groups like Led Zeppelin and praised by Paul McCartney, Bob Dylan and John Peel. Don’t let my opinion of this work keep you from checking this out yourself. I encourage anyone that has not heard The Hangman’s Beautiful Daughter to listen to it on their streaming music service or via youtube.com at https://www.youtube.com/watch?v=DgQuVeMOyAk . Please let me know what you think in the comments.
Track listing [from Wikipedia]
All tracks written by Robin Williamson, except tracks 4, 5 and 9 by Mike Heron.
||“The Minotaur’s Song”
||“A Very Cellular Song“
||“Mercy I Cry City”
||“Waltz of the New Moon”
||“The Water Song”
||“Three Is a Green Crown”
||“Swift As the Wind”
Incredible String Band
- Robin Williamson – vocals, guitar, gimbri, penny whistle, percussion, pan pipe, piano, oud, mandolin, jaw harp, chahanai, water harp, harmonica
- Mike Heron – vocals, sitar, Hammond organ, guitar, hammered dulcimer, harpsichord
Pentangle released the self-titled first album on May 17, 1968. The recording’s production brings out the strengths of the acoustic instruments, emphasizing the instruments individually by closely miking them. The musicians play crisply and with distinction and the vocals fit in very nicely This album blends folk with jazz and blues techniques and elements, intermingling traditional tunes with originals, like the excellent “Bells”, creating vital and refined music that is a joy to listen to.
Track listing [from Wikipedia]
||“Way Behind the Sun”
Released sometime in June 1968 in the UK, but sadly not available in the US until 1970 except as an import, Fairport Convention’s first album is as much of a rock album as a folk album, blending folk and rock elements convincingly and effectively with use of both electric and acoustic instruments. We have some fine tracks with electric guitars and electric bass, as with the case with the first two tracks, which are really unlike anything else at the time — sounding more like early 70’s rock — and we have some excellent acoustic work, most notably the fourth track of the album, “Decameron.” Overall, this is a strong, impressive album with some weak spots, like the last three tracks at the end of side two.
My definition of progressive rock is a rather broad one. I will acknowledge any rock music as progressive rock if it pushes past the conventions or boundaries that were generally adhered to by other groups for that time period and makes a convincing music statement while doing that. I also lean towards considering rock as progressive rock if it is exceptionally excellent and worthy of being mentioned with other great music of previous generations. For me, “Yesterday”, “Here, There and Everywhere” and “Eleanor Rigby” are included with “Strawberry Fields”, and “Lucy in the Sky with Diamonds” as progressive rock, even though one could argue “Yesterday” is no more a rock song than Cole Porter’s “Night and Day.”
Then there is the style of progressive rock considered as a genre and exemplified by groups like Yes, King Crimson, Van Der Graaf Generator, and Gentle Giant. Decades later there have come about a number of groups that imitate these groups, some of them creating high quality music, but without adding much new or stretching the boundaries of the original music that influenced them. These groups are also categorized as progressive rock, or sometimes neo-progressive rock. I would be hesitant to call such music progressive rock unless it really is saying something new or extending into previously unexplored or rarely explored territory.
The instrumental interlude in Fairport Convention’s “Sun Shade” and the instrument introduction to the next track, “Lobster” not only fit my personal definition of progressive rock, but, I think, would have to be classified as being music of the progressive rock genre. In fact, if one thinks strictly in terms of the music of progressive rock landmarks like King Crimson’s “In the Court of the Crimson King”, one can listen to instances like Vanilla Fudge’s “That’s What Makes a Man” mentioned in last week’s Fifty Year Friday’s post , the Nice’s first album, and the instrumental introduction to “Lobster”, and hear not just the seeds of the progressive rock style, or music that some label as “proto-prog”, but clearly hear the “progressive rock” style of music, set in motion by the progressiveness of earlier efforts from the Beatles, Jimi Hendrix, The Doors, Jefferson Airplane, not to mention the earlier progressive contributions of jazz, big band music, be-bop, cool jazz, and hard bop.
Track listing [from Wikipedia]
- Judy Dyble– lead vocals, electric and acoustic autoharps, recorder, piano
- Ian MacDonald (Iain Matthews) – lead vocals, Jew’s harp
- Richard Thompson– vocals, lead electric and acoustic guitars, mandolin
- Simon Nicol– vocals, electric 12 and 6 string and acoustic guitars
- Ashley Hutchings– bass guitar, jug, double bass
- Martin Lamble– percussion, violin