Customer Reviews

From Clare To Here: The Songs Of Ralph McTell

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I discovered Ralph McTell a long time ago when I was learning guitar and played "Streets of London." I picked up the odd LP here and there over the years, but they were hard to find. I think his label was Rhino Records! Anyway, I hadn't listened to those scratchy old albums in a while, and when I saw this CD I bought it. It reminded me all over again how good he is, and I actually prefer the songs on this CD to the ones I'd heard--both the songs I hadn't heard before and the versions of the ones I have.

He has this wonderful, rich, resonant voice--emotional while still subtle. And the melodies are wistful, evocotive, but also straightforward and singable. I find that after listening to this CD, I'm humming them for days.

For those who like McTell--I'd also recommend The Fairport Convention--a band he wrote for and played with occasionally. Their album, Glady's Leap, contains an interesting version of "The Hiring Fire"--a song on this album.

According to the CD's extensive notes, it appears that Ralph McTell and his songs are well known in the British Isles (which may be due in part to his stint as the host of a popular children's TV show!), but he remains little known in America. That's a shame, for as this album so thoroughly documents, he is one of the finest and most underrated of the current generation of British folk-oriented singer-songwriters. The 16 tracks cover a broad range of Ralph's long career and subject matter, and his powerful playing and rich, comforting voice are in fine form throughout. It includes some new and re-recorded tracks, so Ralph's fans will have to have it, and everyone who is interested in folk-oriented music should have it. Ralph is one of the best, and the proof is right here.

This is classic Ralph, lovely to listen to, and the liner notes nicely explain the subtext beneath each song. The Barges track is an especially nice alternative track of this old favortie.

This collection features only a small handful of what I personally would consider McTell's best pieces (where are 'Birdman,' 'First Song,' 'Another Rain,' 'Gypsy,' 'Blues in 12 Bars,' 'Zigzag Line,' 'Rizraklaru,' 'Naomi,' 'Run Johnny Run,' etc., etc.?), including the atmospheric 'Barges,' sublime 'From Clare to Here,' and major hit 'Streets of London.' Still, what's here is also good material, if in a more "songwriter's choice" direction, and only supports the view that McTell rates as one of the very best contemporary folkies of his generation. Neither has it hurt his cause that he is a first-rate guitar player, expressive (if not very flexible) singer, and able to get many other fine musicians to make guest appearances on his albums.

I can't quarrel with anything said here to date about McTell's beautiful voice and moving, "woven" songs (I love that image!).

But my other exposures to McTell's music are a bootlegged tape from 1980 or so -- a radio performance of "On Stage at McCabe's" that also included a set by Bert Jansch -- and a vinyl copy of his "Easy" album from roughly the same period. The arrangements on both were simple -- McTell and his guitar on the McCabe tape, and not much more on "Easy." These were intimate arrangements very much in sync with the songs.

The arrangements on "From Clare to Here: The Songs of Ralph McTell" are much more elaborate. Tarted up, to my taste. And because of them, I found the CD very disappointing. From the orchestra backing up the "Summer Girls" track, to Alun Davies' Jaco-Pastorius-like bass playing on "The Girl from the Hiring Fair," to Gerry Conway's Mark-Knopfler-like guitar riffs on "Bridge of Sighs" to Billy Livesy's too-sweet synthesizer backgrounds on "Song for Martin," the musical decoration detracts from the subtle beauty of the songs and hides McTell's beautiful voice. Also diminishing the CD is a marked overuse of reverb on many of McTell's vocals.

I found the backing vocals on "Streets of London" particularly destructive.

I hate to mention it in the same review, but Gordon Lightfoot has done similar things to his music in some of his later releases.

John Hartford has a lyric that goes something like, "Why d'you have to use all those jams and jellies and preserves / and why d'you have to smear 'em on your face just before you come to bed?" I'd have to ask McTell a similar question. Why? He's beautiful, as Hartford would continue, and it'll always come through. If you have this CD, listen to "Mr. Connaughton" with its two guitars, handsomely overdubbed harmonies, and tastefully applied fiddle backup. Now imagine a whole album that pure.

Please, Mr. McTell!

It isn't often that I enjoy an entire album, and this is amongthose few. Highlights of this 25th anniversary collection include"Girl from the Hiring Fair," and "The Ferryman," which surpasses the original version from his classic You, Well-Meaning Brought Me Here (1971 & 1998).

"Barges" (featuring Alan Davies, former sideman for Cat Stevens), has a different feel from the old version on his excellent album Not Till Tomorrow (1972), soon to be released on CD.

McTell's music often seems painted or woven, rather than written. He is a master guitarist and an insightful poet, with a voice that can pacify even Robin Williams.

I am eagerly awaiting the release of Volume 2!