Flat Baroque And Beserk
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Baroque and Berserk' was the first record of mine to go into the charts.
For the first time in my recording career, proper care and attention
was paid to the presentation of the song. Peter Jenner was assigned
by EMI Records to produce the recording. Peter and I got on really
well and he was a better overseer of my work than anyone I have been
involved with before or since. I had also had a Studio upgrade. EMI
Studios, Abbey Road was at that time the most advanced studio in Europe,
and over the next ten years I was to record in near-perfect conditions.
- Roy Harper
Roy Harper's fourth album found him in an acoustic folkie mode more often than not, though as usual (for circa late-'60s Harper) there were detours into pretty rocky items on occasion. It's not much of either a progression or a slide from the lyrically convoluted, somewhat but not incredibly melodic path he had established with his prior work. "I Hate the White Man," however, is certainly one of his most notable (and notorious) compositions, a spew of lilting verbiage that's hard to peg. It could be irony, it could be ironic self-hatred, it could be muddled reflections on the chaos that is the modern world, or it could be a combination of all of them. There are gentler items, sometimes with subdued harmony vocals and orchestration that sound rather like Harper's most acerbic side sanded off with edges of Al Stewart, Donovan, or Tim Hardin; "Another Day" is the prettiest of those. The atypical "Hell's Angels," on the other hand, has a twisted, chunky rock feel rather like the solo work of another of producer Peter Jenner's clients, Syd Barrett.
- Richie Unterberger (AMG)
Don't You Grieve (Harper) - 5:43