Crimson Moon [Import]

Bert Jansch | Format: Audio CD

Product Details

• Audio CD (February 26, 2008)
• Number of Discs: 1
• Format: Import
• Label: Sanctuary UK
• ASIN: B0002ADY1U
• Also Available in: Audio CD  |  MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #407,263 in Music (See Top 100 in Music)

Track Listings

1. Caledonia

2. Going Home

3. Crimson Moon

4. Downunder

5. October Song

6. Looking for Love

7. Fool's Mate

8. The River Bank

9. Omie Wise

10. My Donald

11. Neptune's Daughter

12. Singing the Blues

Customer Reviews

Most Helpful Customer Reviews

15 of 16 people found the following review helpful:

5.0 out of 5 stars the master in top form, August 25, 2000

By 

Jerome Clark (Canby, Minnesota) - See all my reviews
(REAL NAME)   

This review is from: Crimson Moon (Audio CD)

This lovely disc sees one of the major forces of the British folk revival in top form. Bert Jansch has been recording since the 1960s. Though still little known to any but a cult audience in America, his role in the creation of a uniquely British guitar style matches those of John Renbourn, Davy Graham, and Martin Carthy, even if he sounds like none of them (not that any of them sound like each other either, as far as that goes). Beyond his roots in his native Scotland's traditional music, Jansch was drawn early on to blues and jazz, which he incorporated seamlessly into a fluid, melodic singing and playing style. He was an early influence on Paul Simon, Donovan, and Neil Young (who freely acknowledges that his "The Needle and the Damage Done" was inspired by Jansch's classic "Needle of Death," which reappears on a companion "Best of" disc with this new CD along with such Jansch standards as "It Don't Bother Me," "Lucky Thirteen," and "Blackwater Side"). Crimson Moon is an eminently satisfying excursion through Jansch country: a few originals, some covers (including Robin Williamson's beautiful "October Song" and, startlingly, the old Guy Mitchell tune "Singing the Blues"), an instrumental, and a traditional ballad. Acoustic and electric guitar sounds interweave in stark and shimmering arrangements, and Jansch brings his patented languorous vocals to the songs. Though hardly pretty in any conventional sense, his voice is, as always, weirdly hypnotic and affecting. Everything is working here, and the result is a nearly perfect recording. Anyone who loves Jansch's music will love this CD, and those who haven't heard him before could do a whole lot worse than to start here.

14 of 15 people found the following review helpful:

5.0 out of 5 stars he's still got it, September 24, 2000

By 

C. H Smith (Bowling Green, Kentucky United States) - See all my reviews
(REAL NAME)   

This review is from: Crimson Moon (Audio CD)

I fully agree with the other reviewers. Jansch has been my favorite performer since I first heard his recording of "Poison" on a Reprise sampler back in 1970. This new cd is his first in a long time that fully comes up to expectations generated by his first several albums in the mid and late 1960s. Some who have never heard of Bert Jansch (or have, but have only listened inattentively) might wonder what makes a relatively small following think he is one of the finest guitarists ever (in a recent British poll he was named the second most influential acoustic guitarist of the twentieth century--just after Robert Johnson)--well, it has to do with originality, musicality, taste, and economy. Jansch is the ultimate "orchestra in a guitar" performer, not because he delivers a loud or busy message, but because he is the consummate combiner of lines, both as a soloist and as an accompanist. A friend of mine, who for a time much preferred John Renbourn to Jansch, was listening one day to one of his solo instrumentals on the album "L.A. Turnaround." When it finished, he said, "Wow, the bass player on that cut was really great." He was amazed to hear that there *was* no bass player on it, just Jansch. This says it all, or at least almost all. This latest album proves he's still got it after all these years.

9 of 9 people found the following review helpful:

5.0 out of 5 stars His Best Work Since The Pentangle, August 24, 2000

By A Customer

This review is from: Crimson Moon (Audio CD)

Bert Jansch. Crimson Moon. ©2000 Castle Music, Ltd.

On the inside cover of The Pentangle's classic 1972 double album Sweet Child, guitarist/vocalist Bert Jansch is quoted as saying, "I'm only in it for the beer." In the intervening years, which saw The Pentangle's dissolution and then tepid reformation without primary guitarist John Renbourn, who embarked on a successful solo career, and after a sequence of bland solo offerings from Jansch which only occasionally contained a song that even hinted at the almost primordial greatness of his musical sensibilities, one had almost come to the conclusion that he was, indeed only in it for the beer, which (combined with depression and arthritis) was no longer doing him right. But from the first chords and vocals of Crimson Moon's opening track, "Caledonia," with its tasteful phrasing and timeless folk mood, one who loved and idolized the early work once again got the old familiar chills: Bert Jansch, the greatest singer-songwriter-interpreter of his generation, is back, and at 60, the playing tight and the voice virtually indistinguishable from his work with the Pentangle or from his solo classics Jack Orion and Lucky Thirteen, previously out-of-print selections of which are collected on the album's second CD The Best of Bert Jansch for your comparison, enjoyment and befuddlement: How the hell had I not heard of this guy, I can hear some say (and indeed I have). An element of youth pervades the album, as Jansch is joined by both his son on bass and his daughter on vocals ("My Donald"), sounding much like Jacqui McShee did with The Pentangle--and by noted UK guitarists Bernard Butler and Johnny Marr, who fill in the Renbourn electric leads perfectly within Jansch's aesthetic, which never slips or compromises on any of the new album's 12 tracks, ten of them originals. On "October Song" Jansch's voice and acoustic guitar accompaniment in the classic minor scales of the Scottish folk tradition shine forth almost eerily, which was always a word that could be applied to Jansch at his haunting Celtic best: this is, quite simply, Jansch's best work since the early 70s, and better indeed than much of that. A single listen to "Neptune's Daughter" holds the same spell on the listener. Taken as a whole, this reasonably priced double-album stands as a five-star classic of Jansch at his past-and-present best. And you won't hear about it in Rolling Stone along with the reviews of lesser artists who owe their artistic livelihoods to the foundation of Jansch's achievement: I doubt even a specialized magazine like Dirty Linen will give it its due. Still, for those not familiar with Jansch, this album could be favorably compared to Johnny Cash's classic 1994 American Recordings: a return to true form and spirit after an extended creative drought, with slight differences which make the work both more authentic and in fact superior to the monumental spirit of the earlier classic works themselves.

Kevin McGowin Raleigh, NC