Customer Reviews

Moonshine

5 star:		(4)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

When this record was first issued in the early 70's it received relatively little attention; which is astonishing, since it is possibly the most perfect and memorable production of the entire British folk music movement. It combines the nostalgic medievalism of that period with a visionary appreciation for the works of contemporary songwriting; its songs seem to rise from some old and fragrant mist, revealing glimpses of strange and beautiful landscapes, mortality and its darkness, and mythic depths of a world that lives apart from its human tenants. And the really miraculous thing is that this is all accomplished with an almost homespun straightforwardness, altogether without any silly fairytale falderal or bombastic self-importance. Such a wonder can only have been wrought by the most confident musicianship. I have listened to this record more than a hundred times, and hope I live to hear it a hundred more; its beauties remain unfaded; indeed sometimes it seems to be beyond the making of human hands and voices. It is, instead, the work of some forgotten gods, who wear tattered leather great coats and muddy boots.

This, along with Rosemary Lane, is, in my opinion, one of Bert's two greatest albums; more consistant and satisfying than the erratic brilliance of his better work. Something that usually isn't commented on is Tony Visconti's production; I don't know how the man himself rates this in the context of Bolan & Bowie, but he did a superb job. Some beautiful baroque arrangements grow fluidly from the understated guitar on the opener, Yarrow, and Bert himself sings life into the old formulaic tragedy of the ballad. Following this, Brought with the Rain seems almost like a folk-myth, faded with time and of unclear meaning, with a passionate vocal and embryonic accompaniment of circular guitar patterns and harmonica from Ralph McTell. Another beautiful arrangement and performance on The January Man, Bert's own Moonshine, and others. Very striking is Twa Corbies, in antique dialect and with grim imagery; two crows talk over the dead man they've come across, and manage to muse over his transitory existence (by now, his hunting hound is gone, his woman has found another, and nobody knows where he lies) and discuss what a good meal he'll make them. Not every piece on the album seems fully developed, but those that aren't are in no way 'throwaway', merely looser in feel and imagery. Not a perfect album, but one so full of quietly brilliant moments throughout that it is definitely worth gettin' hold of.

"Moonshine" was first released in 1973. Chronologically it was the follow-up to one of the very finest folk guitar albums ever released by anyone, "Rosemary Lane." For "Moonshine" Jansch got his Pentangle buddy, double bassist Danny Thompson, to produce, and along with this influence there came several of Thompson's friends, including Tony Visconti, his then-wife Mary Hopkin, electric guitarist Gary Boyle, and the fine fiddler Aly Bain. The overall effect was a bit curious, with Bert's presence being more in the manner of a vocalist in a jazz quintet than as an out-front guitarist (though he does play guitar on every cut). The material recorded consists of a bit of this and a bit of that: three traditional pieces, done professionally but not altogether interestingly, two works by other contemporary songwriters (including a beautifully arranged and performed rendition of Dave Goulder's "The January Man"), and four Jansch originals, ranging from the rather boring "Night Time Blues" to the sublime title cut. I personally would rank this album about halfway down Bert's solo titles discography quality-wise: a bit too slick and measured to excite, yet touching all the bases with respect to professionalism and vision.

Moonshine is an album where jazz, British folk and blues come together in a typically unselfconscious Jansch way. No other artist has the instinct for this kind of balancing act where one of the most important ingredient is good taste. From the opening gentle approach of Yarrow through to the fabulous electric groove on Oh My Father, Moonshine is a mesmerising masterpiece, a timeless tale of the human condition; past, present and future.

In hindsight the 70's was a watershed for this kind of eclectic approach to music that Bert helped pioneer but comes to full fruition with this album. Instruments include acoustic guitar and bass, fiddle, harp, flute, electric guitar for the final track and superb drumming; enrich a program of finely arranged material that has to be heard to be believed. Add cello and clarinet to Moonshine, which has nothing to do with home brew but echoes the loneliness of a poor incarcerated soul, and all sorts of musical possibilities take wing. Yet when it comes down to just Bert alone on vocals and guitar as with the traditional Twa Corbies, we're struck dumb by the presence of the maestro himself who turns out one of his most stunning performances. In vain I have called for this piece at live performances; no matter, it is perfectly captured here for all time.

So if you like your folk music with a jazz and blues twist then this is for you, but be warned, Moonshine is so much more!

I found this in the stacks when I was a college radio DJ, and really liked it. It's haunting traditional English folk, with great accompaniment. My favorite is Night Time Blues.