Monday, April 28, 2025

‘Steeped in Antiquity and Fantasy’: Some Esoteric Seventies Music

 

In the late Seventies and early Eighties, when punk, ska, electro-pop and disco were all the rage, the folk-rock and progressive music groups of the preceding years were in disfavour and it was possible to pick up their shunned albums cheap from second-hand record shops pervaded by cigarette smoke and patchouli oil. Already drawn to fantasy and supernatural fiction, I saw some of these bands and artists as in the same tradition, as their very names revealed. The first that I encountered were called Comus, Titus Groan, Heron, Dr Strangely Strange, Third Ear Band and Gryphon. They sounded strange and alluring.

These bands seemed all of a piece to me with my interest in ancient mysteries, part of the same mood that had inspired Janet & Colin Bord’s Mysterious Britain (1972) and a cavalcade of similar books. They belonged with stone circles, flying saucers, ley lines and terrestrial zodiacs. I liked their music too. It was either gentle, wistful and pastoral (at the folk scene end) or adventurous and unusual (at the more progressive reaches). Some of their songs became great favourites: ‘Song to Comus’, with its wild flute and caprine vocals; Titus Groan’s ‘Hall of Bright Carvings’, also flute-driven and with a soaring chorus; ‘The Unquiet Grave’ by Gryphon, a haunting version of a traditional song, augmented with sonorous crumhorn; the plaintive, melancholy minstrelsy of ‘Wanderer’ by Heron.

Such is my affection for these often obscure and off-centre bands that I have recalled this period of discovery fondly in two stories: ‘Goat Songs’, about the elusive album of that title (The Uncertainty of All Earthly Things, 2018) and ‘Lost Estates’, about what happens when The Perpetual Motion Machine Co. get back together again (Lost Estates, 2024). It is a theme that often draws me back. A band called Piccalilli, in red velvet flares and embroidered waistcoats, who regaled village halls in West Northants and thereabouts with a long oboe-led instrumental tribute to Edward Lear’s ‘The Dong With the Luminous Nose’, have yet to become a story. My own ‘band’, The Mystic Umbrellas, though it responded to the d-i-y tape scene of the early Eighties, was musically (if I may stretch that term) and thematically much closer to the ethereal, melancholy, drifting ambience of the soft- progressive style.

A decade or so further on there was a revival of interest in some of these (real) bands, and their records became sought-after and rare, in much the same way as the old books of Machen, Blackwood, Dunsany and Hope Hodgson came back into favour and vanished from the shelves. Some of the bands then got back together again, decades after they had disappeared.

In this revival I found out about bands I hadn’t discovered in the original Seventies afterglow: Jade, who had a wonderfully eerie song, ‘Five Of Us’, set in a haunted Norfolk cottage where they had stayed, all about shadows dancing on the whitewashed walls; Amazing Blondel, a medievalist band whose instruments included theorbo, cittern, archlute and other arcana; Trees, a Fairport-ish band who also had spooky songs such as the uncanny ‘The Garden of Jane Trelawny’; Oberon, whose only album was issued in just 99 copies and whose influences included King Crimson and Debussy; Fuchsia, named after the saturnine sister in Titus Groan, and unusual for being violin-led and chamber music-ish; the pagan and folkloric Forest;  and Dulcimer.

Dulcimer were a folk trio from the Cotswolds whose first album, And I Turned As I Had Turned As A Boy, was very sought-after. The title sounds like a quotation, but seems to be original to them: it is part of a poem recited (by the actor Richard Todd, who ‘discovered’ them) in the opening piece, ‘Sonnet to the Fall’. Their music is gentle, whimsical, sometimes peculiar, often melancholy. The songs are about the passing seasons, pilgrims and travellers, lost loves, falling leaves and falling snow, butterflies and fairies. ‘Their lyrics were steeped in antiquity and fantasy’ noted music columnist Bruce Eder, and this is true of many of the other bands mentioned here too. In an interview with Psychedelic Baby magazine their lead singer Peter Hodge explained that ‘Most of my songs have been stories set to music’. 

Fantastic literature pervades the ideas and images of many of the bands. Robin Clutterbuck, who designed the sleeve artwork for Oberon's rare LP, explained:  'I was really keen on mythical literature like Beowulf; also ‘The Hobbit’, ‘Lord of the Rings’, Alan Garner and Mervyn Peake.  As for artists, I liked the work of Aubrey Beardsley, Gustave Doré, Richard Dadd and Samuel Palmer.'

The Tolkien and Peake influences are not surprising for the time. When I later looked into all these bands and plotted out the dates of their first albums (see below), I saw that they clustered around a brief period from 1969-1973, and in particular the middle two of those years. By the time I was flicking through the racks of record shops, about a decade later, they were regarded by the trendsetters as quaint and obsolete (er, like the term ‘trendsetters’ too, now I think of it). That was why I was able to pick some of them up, with scuffed sleeves and often grooves too, for very reasonable sums. It was just like the delight of bookshop finds.

It is important to note that though they are known and collected for their Seventies music, this often comprised only a few years of their careers. Some players drifted out of the music scene altogether, others continued to write and perform, and some have resumed after a long gap. Comus, for example, returned after some 40 years, and their singer Bobbie Watson now releases her own work too. Gryphon are still releasing albums and performing. Dulcimer’s Peter Hodge is also actively at work, and has released three albums in recent years, including Pipers Grove (2023) and Too Many Frankensteins (2024). It is cheering to see their vision and virtuosity continuing.

Checklist

Dr Strangely Strange: Kip of the Serenes (1969)

Forest: Forest (1969)

Third Ear Band: Alchemy (1969)

Amazing Blondel: The Amazing Blondel (1970)

Dulcimer: And I Turned As I Had Turned As a Boy (1970)

Heron: Heron (1970)

Jade: Fly on Strangewings (1970)

Titus Groan: Titus Groan (1970)

Trees: The Garden of Jane Trelawney (1970)

Comus: First Utterance (1971)

Fuchsia: Fuchsia (1971)

Oberon: A Midsummer Night’s Dream (1971)

Gryphon: Gryphon (1973)

(Mark Valentine)

Image: Oberon's A Midsummer Night's Dream: sleeve art by Robin Clutterbuck


23 comments:

  1. 1960s presursors were Shirley and Dolly Collins's Sweet Primroses and Anthems in Eden.
    Another early 1970s band was Mr Fox. Ashley Hutchings's Albion Band(s) were better known, but had similar combinations of mediaeval and modern instruments

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    1. Thank you, I'll certainly look into Mr Fox. Mark

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    2. ...and the Young Tradition's Galleries, with David Munrow and The Early Music Consort

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  2. Yes, I've had the same or a similar affinity with both the literature of the fantastic and with fantastic music. That includes all the bands you list and a whole lot more, many of them British, though, too, many from the continent (I'm in the U.S,). It's been fun over the years collecting and listening, trying to suss out the differences between prog rock and fusion, Italian vs. Finnish, Comus vs. Edgar Broughton. And the album covers! Sometimes I'd buy an LP just for the cover. Gentle Giant's "Octopus" is one of my favorites, the music and the LP's image being equally fantastic. Etc. You might be interested in an article in the magazine Shindig! (Issue 160) called "A Seancing Song." All about "the notion of hauntology" and its "shadowy fingers into the nooks and crannies of 21st century popular culture." Also, Rob Young's book "Electric Eden" is a wonderful resource--at least in part--on the subject(s) of your post.

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    1. Thank you, I do agree, both about the album covers and Gentle Giant. Mark

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  3. And Dr Strangely Strange have just released a new album!

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  4. Check out "Sumer is Icumen in" - a C.D. compilation on the Grapefruit label for lots more leads on this.

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  5. I'm also keen on this brand of folk although my greater affection is for its precursors in the British psychedelic period that precedes and often bleeds into it. By coincidence I've been listening this week to all the albums in the Rubble collection which I have as a hefty 20-CD box set. I'll spare you the enthusiastic burbles to note that one of the featured groups, Les Fleur De Lys (also known briefly as Rupert's People) released a single in 1968 based on the Edward Lear poem mentioned above. Their song is titled Gong with the Luminous Nose, however. I expect by this time the word "dong" was deemed inappropriate in something intended for daytime radio play.

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    1. Thanks, John, that sounds a groovy listening experience! Will look into Les Fleur de Lys. Mark

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  6. Hello Mark, this is an endlessly fascinating subject. I'm very fond of Amazing Blondel and Gryphon, and like some of the other bands you mentioned too. If you aren't familiar with them, I recommend the East Anglian band Stone Angel, who made some very atmospheric songs that incorporated East Anglian legends and folklore such as the haunting 'The Bells of Dunwich' and 'The Black Dog'. They've made albums in more recent years too, and I think they have a new one out. Their song 'East of the Sun' is excellent.

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    1. Thank you, Lori, I hadn't heard of Stone Angel at all. Will investigate! Mark

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  7. Certain songs from Lal & Mike Waterson's album Bright Phoebus would certainly root well in this company, such as Child Among the Weeds (a fantasy of pagan sacrifice...I think), and, from the same disc, Fine Horseman - though this bettered by the haunting version sung by Anne Briggs on her record The Time Has Come.

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    1. Thank you, that does sound interesting. Yes, I'd certainly see Ann Briggs as part of this milieu too. Also, Bridget St.John. Mark

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  8. (Correction to that comment in the queue - the song was actually the Scarecrow;
    'As I rode out one fine spring day,
    I saw twelve jolly dons dressed out in the blue and the gold so gay.
    And to a stake they tied a child new born,
    And the songs were sung, the bells was rung, and they sowed their corn,')

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  9. Lovely to see a shout-out for Gryphon here. Red Queen to Gryphon Three is a very fine album, as is Raindance. And it's been a long time since I thought about The Third Ear Band or Amazing Blondel.

    I've not listened to this neomedieval folk rock style for a long while now (most of this year it's been extreme metal, especially after I saw Pantera in February), so I think I'll get onto Spotify and indulge for a while.

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    1. Thank you, Harris. I do agree about 'Red Queen'. Great cover too! Mark

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  10. I don't recall what type of music it is, but Swedish musician Bo Hansson did a Lord of the Rings album in 1972. (It's probably been forty years since i heard it.)

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    1. Thanks, Doug, yes I do recall seeing that around. I didn't include here Barclay James Harvest, whose first album was in 1970, but their song 'Galadriel' is another Tolkien tribute. Mark

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    2. All of the above is so richly deserving to indulge in. My two cents would be to mention one of my all time favorite prog bands, Camel had a great song, Nimrodel, about Gandalf, on their second album that came out in 1971. They’ve done some great story telling albums such as The Snow Goose, related to the book of the same name, about the devastating withdrawal from Dunkirk. Lead singer a songwriter Andy Latimer, from the original group has released other historical themed albums such Dust and Dreams, about the dust bowl migration from Oklahoma to California during the Depression. Other albums are about the discovery of a Japanese soldier on an island in the Pacific, years after the end of WW II, and another is about the mass exodus to America after the potato famines in Ireland. Sorry, but the album names elude me right now, which is odd since I know them all by heart.

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    3. Thank you, Gary, yes I do agree about Camel's music. Mark

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  11. Jan Dukes de Grey : Mice and Rats in the Loft

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