BEAU Creation LP DANDELION 1971 UK orig DAN8006 Stereo THE WAY WE LIVE-JOHN PEEL
£
34
$
45
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Description
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BEAU
with JIM MILNE and STEVE CLAYTON of The Way We Live
Beau -- the stage name of the English singer/songwriter born Christopher John Trevor Midgley -- put out a couple
of obscure albums on the Dandelion label in the late 1960s and early 1970s. These showed far more influence
from American folk singer/songwriters of the mid-1960s -- such as Tom Paxton (of whom Beau was a big fan)
and Phil Ochs -- than most such British folk records, though there was some similarity to the acoustic efforts
of British singer/songwriters like Donovan, too. Beau's voice and melodies were very plain, though,
and the records were also-ran footnotes of British folk-rock
"CREATION"
Produced by Beau with thanks to John Brierley and Clive
1971 LP DANDELION RECORDS DAN 8006 STEREO
MADE IN ENGLAND ORIGINAL COPY
SECOND ALBUM
Barcode and Other Identifiers
LABEL: DANDELION - WHITE LABEL + LOGO - BLACK TEXT
Catalog on cover: DAN 8006
Catalog on labels: DAN 8006 (DAN 8006 A / DAN 8006 B)
Matrix / Runout (Side A, Stamped): DAN 8006 A1
Matrix / Runout (Side B, Stamped): DAN 8006 B1
On labels: ? 1971 Dandelion Records
Produced by John Peel
Rights Society: Biscuit Music Ltd.
lower rim text reads 'Made In England'
On back cover: All titles written and composed by C.J.T. Midgley and published by Biscuit Music Ltd.
Distributed by Kinney Record Group Ltd.
from my records collection
tracklisting
Side A: NINE MINUTES - THERE ONCE WAS A TIME - SPIDER
APRIL METEOR - IS THIS YOUR DAY - CREATION
Side B: BLIND FAITH - FERRIS STREET
RELEASE - A REASON TO BE - SILENCE RETURNS
grading
RECORD ffrom VG to VG+ but (please, read above description)
SLEEVE VG(+) (please, see pictures and read above description)
For his second album, Creation, fellow Dandelion artists the Way We Live provided full-band backing
on some of the cuts, which made for a substantial improvement. At its heart, though, it remained average-at-best folk-rock
troubadouring fare, the work of a sensitive observation-oriented composer without much vocal distinction or force.
The chugging "Nine Minutes" was one of Beau's best efforts. On "Creation," the music did take an unpredictable
turn into quasi-psychedelia, with whispered spoken narration on top of swirling discordant organ,
in a manner not too far removed from some of early Pink Floyd's spacier interludes. "Silence Returns," too,
goes in an unexpected direction when its basic doomy riff is joined by scorching distorted hard rock guitar
some ways into the track, and these two songs alone make
Creation a more interesting effort than its predecessor...(AllMusic)
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