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JACK HARDY

with JEFF HARDY acoustic bass & backing vocals, CHRIS HARDY fiddle,

JOE BIDEWELL or DOUG POMEROY organ,

HOWARD WYETH drums, JOE HENDERSON acoustic lead guitar,

MAGGIE ROCHE, TERRY ROCHE, SUZZY ROCHE backing vocals

"THE NAMELESS ONE"

<1979 2nd pressing, originally published in 1978 on Great Divide label>     

LP     FIRST AMERICAN  RECORDS      FA-7723

PRINTED IN THE U.S.A.   1979 REPRESSING

       SINGLE COVER

HEAVY CARDBOARD COVER

Barcode and Other Identifiers

Barcode: none

LABEL: FIRST AMERICAN - RED LABEL w/BLUE STARS - BLACK TEXT

Catalog on cover: FA-7723 

Catalog on labels: FA-7723 (FA-LP-7723-A) S-7797 /  FA-7723 (FA-LP-7723-B) S-7798

Matrix / Runout (Side A, Etched): FA-7723-A  AZ   S-7797

Matrix / Runout (Side B, Etched): FA-7723-B  AZ   S-7798

On labels: Publisher: Jack S. Hardy Music Co.

? & © 1979 J.G. Prendergast

Manufactured and Distributed by First American Records, Inc. 73 Marion St., Seattle, WA 98104 USA

All rights reserved

On Back Sleeve: All songs by John S. Hardy

© 1978 John S. Hardy Music Co. ASCAP  Lyrics used by permission 

except the instrumental ending to The Three Sisters which is traditional.

Production Assistant and Engineer: Douglas Pomeroy

Recorded at: Celebration Recording Studios N.Y.C.

Cover Painting: John Hardy (no relation)

This album is dedicated to my family.........

? & © 1979 J.G. Prendergast

Manufactured and Distributed by First American Records, Inc. Seattle, WA USA

tracklisting

Side A: DOVER TO DUNKIRK - THE SPARROW - MAY DAY

WORKS AND DAYS - ALL SAINTS EVE

Side B: THE THREE SISTERS - POTTER'S FIELD - THE NAMELESS ONE

BLACKBERRY PIE - THE VICIOUS CYCLE

RECORD EX but (please, read above description)

SLEEVE NEAR EX but (please, see pictures and read above description)

On his second album, The Mirror Of My Madness, Jack Hardy emerged as one of the more accomplished Dylan-influenced singer-songwriters of the 1970s, one who often seemed capable of matching his predecessor line for line, while taking for his own the folk-rock sound Dylan pioneered from 1965 to 1968. But that album led off with "The Tailor," which sounded like it could have been a traditional folk song of several hundred years' vintage, and it is that song which proved the harbinger of his third album, The Nameless One. Always delighting in language as much for its sound as its meaning, Hardy invested his verses with alliteration and repetition in songs steeped in Anglo-Irish tradition as he and a backup group including two of his brothers and the three Roche sisters sang in harmony and played on mostly acoustic instruments. Elves, shepherds, and fairies peopled his lyrics, along with references to the Bible, Homer, and, especially, William Butler Yeats. On the title track, Hardy even helpfully provided a footnote to explain that "the leanhaun shee" was Yeats's term for "the gaelic muse." On that song and others, the sway of Dylan's overstuffed language in songs like "Desolation Row" was still apparent, yet you felt that, unlike Dylan, Hardy, if asked, would be able to account for the origin and intent of every image. But if a degree in English Lit. seemed required for a full understanding of Hardy's lyrics, his songs nevertheless had a powerful impact, even if you didn't get all the references. His precise, bitten-off phrasing, slightly wheezy tenor, and delicate finger-picking all helped make his performances compelling, and he was wise to change the pace with "May Day" and "Blackberry Pie," songs that sounded like they could have been played for dancing at a village fete in the Middle Ages...(AllMusic)