Customer Reviews

Folk Blues Beyond

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A look at the track listing of Folk, Blues and Beyond wouldn't really surprise, entice, or impress the average folk aficionado: it's full of classic and contemporary standards, from the oft-covered "Cocaine," "Seven Gypsies" (aka the slightly different "Blackjack/Gypsy Davey"), to Bob Dylan's "Don't Think Twice, It's Alright." What this standard selection of songs belies is one of the most eclectic, exciting, and impressive acoustic guitarists Britain had ever seen, or, indeed, would ever see. The perfectly-titled Folk, Blues and Beyond is the quintessential Davy Graham album, and blows his debut, The Guitar Player, straight out of the water in terms of variety and sheer ingenuity. After a couple close listens, you'll realize why British guitar greats like Bert Jansch and Roy Harper often cite Graham as a prime influence.

The ghostly, Eastern sounds of the opener, "Leaving Blues," set a standard for the entire album. Graham combines his own deft arrangements of standard folk tunes with guitar styles that run the gamut of folk, blues, jazz, Indian string music, Moroccan music, and many others. The song quickly gives way to Graham's fluid riffing. This is another hallmark of his breathtaking style--when he jumps straight into a gnarly acoustic solo about 1:20 into the song, then back into the main riff, he doesn't miss a beat. Whether he's taking center stage as a soloist, playing a rhythmic lead, or fingerpicking a backing part and a melody at the same time (as on "Cocaine"), Graham seamlessly displays his virtuosity and eclectic tastes in a unique guitar voice that is endlessly listenable and appealing.

Unlike on his debut, on which he was only accompanied by drums, here Graham is often backed by both drums and acoustic bass. Additionally, he sings on nearly all of the songs. Some people are critical of his singing voice--thin, colorless, bland, I've heard people call it--my expectations weren't high on the first listen, and needless to say they were far exceeded. Graham is more than a passable singer, and I don't know why people harsh his voice so much--perhaps it's because they (understandably) just want to hear his wicked guitar chops. His singing is straight-ahead, but he always hits the notes. In fact, his low-key approach is reminiscent to me of some jazz singers, and his inflection often verges on playful and lilting. So, I find the singing adds to the mix, though it definitely doesn't detract from the guitar playing (the most important part!).

It's really quite astounding how much ground Davy Graham covers here, from the gentle strumming of "Sally Free and Easy," to the punchy lead between the moody lyrics of "Black is the Color of My True Love's Hair," to the stinging blues of "Rock Me Baby," to the sprightly and jaw-dropping fingerstyle on "Seven Gypsies." "Moanin'" is another my favorites, with the grooving guitar riff that is really enhanced when Graham starts doubling the melody with his voice. "Skillet (Good n' Greasy)," a classic folk tune, is given Latin treatment, of all things, and it really works. "I Can't Keep From Crying Sometimes" has some classic fingerpicked rhythm guitar and some sweet melodic breaks that remind of John Fahey, but a bit jauntier and less dark. A couple of the best tunes, unsurprisingly, are the "play out" instrumentals, "Maajan" and "Better Git in Your Soul." On the first, the guitarist channels all the ethnic street cred of any Moroccan band (but on guitar), and on the latter, he takes Mingus' tune to fantastic gospel heights. The bonus tracks only sweeten the deal, culled from a live EP, with "She Moved Through the Fair" (aka "Blue Raga") and "Angi," (Graham's most famous writing credit, covered by the likes of Bert Jansch and Paul Simon, among many many others) highlighting his inimitable technique.

I can't help but firmly recommend this album to any acoustic guitar lover, any folk fan, and most fans of blues, jazz with vocals, and fans of great instrumental playing. Despite Graham's virtuosity, it's a remarkably accessible record that never settles too long on any ideas or becomes self-indulgently off-putting. Because of its somewhat limited availability in the US (STILL!), this album remains a holy grail in quality as well as get-ability. Amazon is a good place to get a copy, and once you've listened to it, you'll probably think it was worth tracking down.

I am fortunate to have the original Mono(LK 4649) 33RPM UK 1964 DECCA release of this album (just 16 tracks, but they are all here - plus four additional tracks and, praise the Lord, Anji is one of them!) Ray Horricks, himself an historical mastermind at DECCA, produced the record and wrote the sleevenotes for the album, and likened Davy Graham to Ulysses - a fitting comparison within the music world. Davy Graham may not have received the commercial success of his contemporaries or have enjoyed widespread musical recognition, but artistically and creatively he established himself as a foundation for generations of musicians, and this album captures all of those elements for which Graham is so well-known and followed. I put away the 33RPM LP player some while ago, and have since invested in other Graham recordings on CD's, but this for me is without doubt the best; the re-release of this album is a musical event! Don't miss it.

I remember first hearing this over the latenight "underground" radio waves of the late sixties. I'd only heard Davy mentioned as composer of the famous guitar instrumental, "Anji" (so ably and differently covered by Bert Jansch and Paul Simon) but I'd guessed it was him mid-song before the song was over...who else COULD it have been? The dj said the original album cover was, in it's entirety, a big block of hashish - play on the title of Davy's instrumental "Maajun" (a particularly Moroccan confection). The opening strains of "Leaving Blues" say what Mr.Graham is about quite eloquently: the harmonics orientally bent leading into the jazzlike walking line in octaves as the train pulls out of the station. Then Davy comes in singing the blues as natural bread - no affectations, just straight to the point. His little blues breaks are jewels. How can one classify this record? People like Davy need a bin to themselves, elevated above the BS of marketable categories - he just plays what he wants. Admittedly, this is a guitarist's record but Graham's guitar style is primarily about conveying the song. The plainness of Davy's voice is offputting at first but grows on you to the point that you begin wondering why more people don't try his approach. The intricate, driving riff of "I Cannot Keep From Crying Sometimes" with its straightahead vocal, was an obvious influence on John Renbourn's subsequent take on the same tune. Davy's solo break on the Mingus classic "Better Git Hit In Your Soul" later resurfaced as a riff on Pentangle's 1st lp. "Folk Blues and Beyond" was a pebble in the pond who's waves are still rolling thru the fingers of many players today. Bert Jansch, John Renbourn, John Martyn, Donovan, Paul Simon, the late Mr. Drake, Nic Jones, Martin Carthy, Pierre Bensusan, John Doyle amongst a few...

Once saw a clip of Mr. Graham on a grainy, black and white tv--back before technology became more important than content. Playing some pop standard, I believe. This recording is an impressive document of a worthy artist playing worthy material in the early sixties. Songwriters of whatever stripe should avail themselves of the example set by this master. It was unusual for anybody to play this well--he could easily rock out and extemporize. He sang pretty well too, I think. It certainly wasn't polished, but look what he was singing over. A rare accomplishment. Another thought--there were even a few out-of-tune guitar moments here. A crime in our current over-computered state. No CAD guitars then either. It even sounded alive where today's processed-to-the-nth-degree tracks don't. This version of the record has five bonus tracks bringing the total to 21 cuts. Lots to learn. Lots to respect.

I am not much of a Folk Music listener, however, there are Folk musicians and then there is Davy Graham. I can't say enough about the superb song writing and guitar playing of Davy Graham, he is above board and probably has had some influence on many of the Folk, Blues, and Jazz guitar players of his time, all on the acoustic guitar. His style can range from the Jug Band sound to sophisticated Jazz riffs and also throw in some Blues handles to round out a recording session. I would recommend this record and/or any other by Davy Graham, in fact I have copied this review and added it to my other purchases, as I can not think of anything else to say about any of the other records, other than to buy them you will not be disappointed.

This is a review of the sound quality only, not the music.

This is a pretty loud cd considering the type of music (as in 'loudness war' loud, google it if you don't know what the loudness war is). There is a fair amount of compression and clipping and distortion. Which is totally unnecessary given the style of music. People who are going to buy this record aren't looking for in your face Metallica mastering, not by a long shot.

But I guess it's typically of today's mastering guys that they don't want to be known as quiet engineers so even on releases like acoustic folk they will jam the levels up and distort the music. GRRR!

I used to watch Davy Graham live when I was 19 (going on fifty years ago). This album is just as I enjoyed his music then and now. Finding his version of Sally, free and easy again after so long is a treat.
A great blues guitarist with an evocative voice. He died a few years ago but the music didn't.
Bob B

To think that this album was first recorded in 1965 is amazing. It is sooo good -- very rhythmic -- nice jazzy and bluesy elements. Great guitar playing. Pleasure to listen to. Davy does a great cover of Dylan's "Don't Think Twice It's Alright." From the very first song, "Leaving Blues" you know this album is special. "Moaning" and "Skillet" are also wonderful. 21 great tracks. Well, I didn't want to name them all. 1965, right!

I first bought this record as a teenager at the beginning of the 60's. It was the liner notes that caught my attention. They talked about this musician travelling around N. Africa picking up tunes as he went from camel back to Oasis. I didn't even know where N.Africa was (nor East, west or South Africa were for that matter). I was just getting my head down in my books and equations to finish my physics studies. Well, sorry to disappoint you, but I didn't just 'drop out' as was the fashion at the time. But I did listen to this music a great deal and re-read the liner notes. Once I'd got my degree in my bag I left it all behind and for more than 30 years have lived differently than I would have done otherwise. I have lived all over the world, doing many different and interesting professions, and I can honestly point to the turning point as being the moment when I picked up the record and read the notes (without even hearing the music, which, by the way, is excellent). Life has been good. Thank you Davy Graham and Mr Liner-note writer.

Many greats of modern folk such as Bert Jansch, (and Paul Simon, though the influence doesn't show much lately), credit Graham as their major guitar influence, and admit to still be amazed at his ability. One can go a step further into Graham's roots, Steve Benbow, but Benbow's rootsy stylings don't have Davey's virtuosity. In other words, Graham is -the man-.