Customer Reviews

Fearless

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Family was easily the most creative & most unjustly neglected Rock group ever. Over the course of several albums in the '60s & '70s, Family not only didn't copy anyone else, they never repeated themselves. No small accomplishment, since their own work was so unique & idiosyncratic. You won't find 2 similar songs in their entire recorded output.

Most of Family's albums were so consistently exceptional that it is hard to select 1 or 2 that stand out as their "best." Fearless is certainly one of the contenders. At times, it's tuneful, at other times, virtually atonal (but still fun). The melodies, instrumentation, arrangements - thoroughly unique. In an era where high harmonies were the standard, "Larf and Sing" features probably the lowest pitched harmonies in history. Most of these songs really can't be adequately described in words since there is no one else to whom Family can be compared. Anyone who enjoys challenging, quality rock should check out Family. Serious music by a group that never took themselves too seriously.

As for the "extra tracks," buyers of the old vinyl Family releases will recognize In My Own Time, but not from this album. It was tucked into the American version of Anyway. You'd think they would have put it back with Anyway (another great album in its own right), but noooooo. It is one Family's very few worthwhile non-album track singles. As for the other non-live extra track, Seasons, let's just say that you'll have no reason to hear it a second time. For those who pine for thye B sides, just buy the 2000 release, Anthology, a generous and economical 2 CD set with all the singles & B-sides anyone would ever need.

Apparently, lots of Family albums are now being re-re-reissued with live tracks. If you have any interest in these guys live, the 2004 release "Live" (not much imagination in the marketing department, I guess) is most worthwhile and long overdue. Don't rebuy Fearless yet again for the live tracks, get the live album instead.

If you are a serious fan of early '70s music---the real stuff, not radio fodder or fad junk---most likely you have some Family in your collection. If not, then "Fearless" is a superb starting point, a recording that endures as perhaps the strongest testimony to what was once the most-loved band in rural England and a band that valued creativity above trends.

Some folks consider this to be Family's "quite" album. Maybe, but that is a relative matter. The range of material is actually quite staggering from the contemplative opening cut Between Blue and Me to the gutsy Blind (by the way, the weird sound is a piece of pipe looped through a string that Poli Palmer is whirling overhead) to the gentle Children. It's almost worth the price of the CD just to hear Spanish Tide, one of the best cuts on any Family album. Three songs in particular-the smoldering Burning Bridges, feisty Take Your Partners, and aforementioned Blind-showcase the group's flat out rock and roll style. Sat D-Y Barfly further cements Chappo's legend as the greatest rock vocalist.

The production here is a step up from some of the earlier Family recordings and this ensemble is as tight as that on the group's legendary first album. Having John Wetton in the mix really anchored the band's sound, and he is often front and center instead of being relegated to a supporting role. Charlie Whitney once more turns in virtuoso performances on every song, leaving one to wonder why he never enjoyed the success of more one-dimensional guitarists such as Jeff Beck or Eric Clapton. Roger Chapman is, well, there has never been a vocalist quite like the fellow whose delivery some have likened to an electric sheep's bleating or an elephant's gargling. With power and range that exceeded such peers as Robert Plant or Joe Cocker, he can be remarkably expressive and contained at times but sound like Zeus having a tantrum at others. Rob Townsend, one of the three mainstays of the group, is another underrated member of Family. His flawless drumming powers the group along. Listen to him on Save Some for Thee to get an idea of how good this guy was (actually is, for he still plays skins for the Blues Band and the Manfreds). If there is any weakness, then some of Palmer's eccentric synthesizer might sound quaint to those steeped in modern electronic modes of music.

But Chappo and Whitney, the leaders of Family, show, once again, why they serve all of the respect they were never afforded and this fine recording highlights the failings of FM radio, both then and now, as an artists' medium.

I've worn out 2 LPs of Fearless and used to break out my better copy only a couple of times a year before getting the CD. If you already have the 2000 release of Fearless on a remastered CD with bonus tracks and the just recently released, long hoped for Family Live CD then you will everything here save the live bonus track called Sing 'Em the Way I Feel. One has to hope that all this bonus live material will find its way to a Family Live, Two, disc in the future.

Without a doubt, one of my favorite albums of all time. I remember hearing a couple of the songs on KRLA (LA AM radio station) and wondering who it was. I ended getting the original album on vinyl with the wonderful artwork and fold outs. A hard album to describe, then called progressive, now it just sounds like a fine wine, it has aged well.

"Fearless", originally released in 1971, is "rock music" in the sense that the instruments are mostly electric and the musicians look the part; conventional references end there, save one: Similar to "Ziggy", or "Sgt. Pepper", the songs' sequence enhance the album's enjoyment. After one complete listening, you will understand why "Burning Bridges" could not occur anywhere else but at the closing. Family has always been difficult to categorize let alone describe; the songs have a visual, "Being for the Benefit of Mr. Kite" quality in that they are more depictions than descriptions. This is a masterpiece from a band whose unique yet melodic and stunningly dramatic music is enhanced by its skill at altering its sound, both vocally and tonally, in artful complement; except for the addition of the Ladbroke Horns on several cuts, the instrumentation is routine rock four-piece; combined with its skillfully crafted songs, Family's protean style is arguably its hallmark achievement.

Consider "Between Blue and Me" which opens the album. Beginning as a seafarer's ballad of loneliness and separation, it gently unwinds as bass guitar and bass drum mournfully toll behind acoustic guitar and Roger Chapman's deceptively tender vocal. At once, the tolling becomes menacing, pounding, dirge-like; Chapman, now wailing, berates a father, "a sailor and a traveling man", and a mother, "...a lady who forgets she's a wife", for shirking their duty to "one small boy."

Prepare for tales of barroom high jinks; the anguish of literal and metaphorical blindness (social commentary, that); the joy of friendship; a toast, in stunning harmony, to growing old; a child's innocence and promise; and each song presented within a distinctive sound palate for which Chapman's range, both vocally and emotionally, is custom made. "Fearless" stands as a testament to the liberating influence of Sgt. Pepper on rock music. If that seminal recording is, as mentioned in other reviews on this site, "when rock became art", "Fearless" is that art further unleashed. Yes, it's that good.

As it has been said by many already, Family was one of the Brit Rock bands which received the least--of what would have been highly deserved--praise toward the end of Rock's most creative years. Released in 1971, the lineup had changed a bit since its early days, long gone was Rick Gretch--who had joined short-lived super group Blind Faith--yet his replacement, pre-King Crimson John Wetton , was a stroke of genius.

The whole album maintains a level of inventiveness and musicianship that is rare today and not a given then. More daring that classic Rock and not quite as experimental as some of the great Prog-Rock gestating at the time, Family did not fit in a specific camp which it may why it suffered unjustly from full recognition, given some groups that would receive it in those years.

From the gutsy "Between Blue and Me" and the Tom Waits-like feel of "Sat'd'y Barfly"--a song Tom could actually add to his repertoire--the band is off to the races, so to speak. Then comes one of my favorite, "Larf and Sing," unfortunately only 2:40 long in which Wetton shines and a chorus sectioon--Gentle Giant would patent it later--that takes the song even to further creative heights. Also worth mentioning are the sweet folkie feel of "Children" and "Save Some for Thee" which might make you think of a gutsier Traffic--circa "The Low Spark Of High Heeled Boys ..." era.

Last--best for last, if you will--and probably a voice even more neglected than the band he fronted, there is Mr. Roger Chapman, Family's lead singer and incandescent heart of the band. Chapman, gifted with pipes that could wrench your heart with his dramatic range at one point, rock like crazy or do justice to a soft lullaby, makes a great album simply extraordinary.

All in all one of the few albums of the early Seventies worth the price of an import, and capable of holding its own with any bands from those times as well as these.

FYI: make sure you get the import edition that includes worthy additional tracks, and replicates the great packaging concept from the original vinyl edition.

Like the Wizard said, "Fearless is Peerless". All the previous reviews are spot on. Get this CD just to hear - Sat'd'y Barfly and Larf and Sing - two uniquely crafted tunes. The old vinyl sleeve with it's multiple gatefold design was also quite interesting.

As an early Family fan, I bought Music In a Doll's House when it was released, I believe that Fearless stands out as one of the 10 best albums of all time. Chapman's voice is one of the best in rock and roll. It's really a shame that they never really hit it big in the US but nothing can take away from their talent. A true test of a great album is the ability to stand the test of time and Fearless does that remarkably well.

Fearless. Huh. There's probably no chance that these guys got rich from their work on eccentric records like this. In my own little world even Music in a Doll's House, their first, only got big enough for me to notice out of the corner of my eye. Much of the music I missed while focusing on the Very Important, I now have the momentary luxury to listen to. So there's a strange dimensional shift just making the attempt. I hope you make the attempt as well. Between Blue and Me has a very melodic vocal opening with acoustic guitar and hand drums--then heavier bass and guitar and Chapman's unique screaming. Back down to opening melody with bass and vocal. Sat'D'Y Barfly has a cowboy movie saloon piano, raucous vocal and a tuba. Really. The keyboard player, Poli Palmer, has two very creative tunes in Larf and Sing and Crinkly Grin. His pieces fit the band and this record well. All of the other songs are Chapman/Whitney. Including: Save Some For Me, Take Your Partners, Children, and Blind. Chapman really pushing the vocal there. My favorite is Burning Bridges. Something I do well, I'm told. The last song. Now I'd have to say that Spanish Tide is the big thing on the record. It certainly goes through the most changes. From the first time I heard this song I felt that it resembled the feeling of a 1977 song by the Eagles. Parts of it anyway. Perhaps not. The sense persists. None of my business. There. I have huge respect for all that Family accomplished on this album. Actually, I had no intention of making a little study of all their work. I guess I fell in. The group is gone. Their records are still here. All of it thrilling.

For the last several months, I couldn't wait to hear Fearless. I've actually been anticipating the day I finally got the chance to hear this album.

Now, I consider the first three Family albums masterpieces, but upon hearing Fearless, I'm pretty shocked that something doesn't seem to be right with it. I don't feel the songwriting is quite as strong as most people do apparently.

For one thing, not all the experimentation works. I mean, the songs that are good are DARN good, but the ones that aren't very appealing to me... they are *really* mediocre. Because of these problems, I can't consider Fearless some kind of lost, underrated art rock classic from the early 70's.

However, I still have a ton of respect for the bands desire to experiment as much as possible. Let's be honest, most bands are downright *bland* and afraid to diversify their style even a *little* bit. At least Family expanded their style during their career. They deserve a lot of credit for that.

Let's mention the highlights first. "Between Blue and Me" has a REALLY good vocal melody in the beginning. The song then takes a 180 degree turn after the first minute and becomes much heavier and energetic. The rest of the song then features a pretty good vocal melody (but not NEARLY as good as the vocal melody during the introduction).

Chapman really stretches his range on this track, and in fact, the same can be said for the rest of the album as well. That's actually a problem because sometimes he screams a little *too* hard (more on that later).

"Take Your Partners" is written in a really weird way. It starts off with some kind of atmospheric noise (I guess you can say) before an amazing vocal melody comes in, and an even *cooler* guitar solo. I seriously love the way the song shifts from a vocal melody, to a brief atmospheric bit, and the ultimate payoff being an absolutely fantastic and dreamy guitar solo. Believe me, this is some cool stuff.

"Spanish Tide" goes through many different vocal melodies and musical shifts and styles during its 4-minute time. I swear that groovy part in the middle sounds like Jon Anderson from Yes. The jam that follows is equally cool. I love this song.

For every quality song however, a few average ones drag the album down.

"Burning Bridges" has a pretty mediocre verse melody, but at least the chorus is pretty good, and the instrumental jam in the middle is even better. I have mixed feelings with this song however, because of the awfully sung verse melody. When a verse melody is bad but the chorus is good, I really don't have a choice but to have mixed feelings. It doesn't happen often, but this song is a clear example of that.

I definitely hear a Peter Gabriel similarity from Chapman during this song. The mandolin is played in a tasteful manner though. The song has the potential to grow on me with more listens.

I really don't get the appeal of "Sat'd'y Barfly". I guess it's supposed to be some kind of Leon Russell impersonation, and if you like Leon Russell you'll probably like what you're hearing. Me? I'm not particularly fond of Leon Russell's voice or his style, so it seems like a forgettable song to me.

What in the WORLD is "Blind" supposed to be? It sounds like circus music, haha. The lead singer makes his voice turn extremely hoarse because he abuses the living heck out of his vocal range. I don't know WHAT to think about it. It's really a strange piece of music, haha. The inclusion of bagpipes makes it even harder to grasp.

"Save Time For Thee" is another awesome tune. What originally seemed like a forgettable vocal melody quickly turned into something much greater. I admit I didn't give this song enough credit originally. The piano is really good here as well.

Fearless definitely has some solid moments, but then again, there must be literally thousands of rock albums from the 70's more consistent than this one. I recommend picking up the first three Family offerings first, and then if those albums tickle your fancy, check out Fearless. As it stands, I definitely *like* Fearless, but I guess the first three Family albums spoiled me too much.

I never tire of "Fearless". It is a rare gem that stands the test of time. If I had to choose 10 albums to listen to for the rest of my life, it would be on my list. I wish I'd have seen them live.