"uniform tone, uniform rhythm and vocal dynamics" -- these are
specifically some of Drake's virtues! "What did he bring to the mix
that hundreds of others hadn't already?" Who do you have in mind? None
of the folk singers of the time sound much like him at all, with the
possible exception of Richard Thompson.
― John Darnielle, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― mark s, Friday, 12 July 2002 00:00 (10 years ago) Permalink
anyhow that's what ND gets when he wants it and so my question to you
sir is "Who influenced him in this regard"? ;)
― Braces Tower, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― Dr. C, Friday, 12 July 2002 00:00 (10 years ago) Permalink
sounds trif, esp given the inevitable tiny discrep between the twin top e's, but if a string snaps it'll take yr hand off!!
HA HA HA HA HA.
His playing is very 'clean': the playing is lovely. But a large part
of his success has to do w/his early, tragic death (no one cared when
he was alive) (''promise unfulfilled''). I think John Martyn's 'Solid
Air' was FAR FAR better than anything Drake managed but Martyn got
old and drinks too much, etc etc.
― Julio Desouza, Friday, 12 July 2002 00:00 (10 years ago) Permalink
the production on those records is awful. a bunch of unrehearsed
session musicians trying to accompany a man who obviously knows his
own songs pretty well is never a recipe for success. think about all
that hokey piano playing and drumming on bryter later. "jazzy"? i
don't think so. it sounds like high school kids being a backing band
for their music instructor. check out the crappy attempt at a piano
track by john cale (no less) on "northern sky". he just screws
around and makes mistakes -- you can actually hear him forget the
form of the song and jump back into place (like someone shot him a
disapproving glance from the recording booth).
the string section work is excellent however, and despite my
complaints about poor quality instrumentation, "hazy jane" works
really, really well.
even though recording technologies were very primitive at the time,
many producers were making stunning records. people make so much
about how "intimate" his recordings sound. i contend that's pretty
much accidental -- maybe he just liked to sing closer to the
― fields of salmon, Friday, 12 July 2002 00:00 (10 years ago) Permalink
That said, I think Drake's work conjures a specific mood like few
others. His guitar playing, as someone else mentioned, is
significantly more accomplished than merely 'technically sound'. But,
unfortunately, I also think that the cult that sprang up following his
death accounts for much of his fame -- the world seems to love a
tragic pop star, especially when flecked with hints of madness (hello,
Syd Barrett and Brian Wilson). Couple that with a premature exit, and
::BANG::, you've got all the ingredients to rope in an audience with a
morbid fascination and casual attitude towards revisionism.
― Alex in NYC, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― jel --, Friday, 12 July 2002 00:00 (10 years ago) Permalink
but only this once mark s.
― Anas FK, Friday, 12 July 2002 00:00 (10 years ago) Permalink
Rememeber that Nick Drake's parents wanted him to be a computer
programmer, check out "Second Drake" and "Tanworth in Arden" (great
bootleg CDs of hom recordings) - no one knows who the female singer
is I believe and then move on to stuff like Moyshe McStiff and the
Tartan Lancers, Vashti Bunyan and all things Boyd under the sun...
― Steve K, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― Andy, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― Sean, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― davidh(owie), Friday, 12 July 2002 00:00 (10 years ago) Permalink
every note he records, even if it's unlistenable crap? And you have
such a personal connection to this singer that skipping his latest
release feels like missing a
family funeral (or wedding, as the case may be)? Then, you grit your
teeth and bear it, hoping that your beloved folk singer gets his head
off his pillow. Or you beg
him to call it quits and put you out of your misery.
Nick Drake, please call it quits.
As a poet, you've been around as long as I've been on this earth. You
have summer houses in Lancashire. You opened for Paper Lace. You're
on a rotting major label.
For a singer that has always relied so heavily on the currency of
melancholy, these aren't very encouraging signs. I have become
increasingly convinced that folk
singers, like cartons of milk, have expiration dates beyond which
consumption is hazardous. Unfortunately, too many folkies keep
playing while the mold grows on
their guitars. (OK, so there are exceptions. Those last Fairport
Convention and Joni Mitchell records were pretty great. And there are
plenty of young folkies who
go stale after one single or album, not to mention those folkies that
shouldn't have recorded anything in the first place. So it really
doesn't have to do with age.)
Nick Drake, I'd like to let you know that the spores have been
festering since 1968, when you released your only good album, 'Five
Leaves Left.' Admittedly, had
someone proposed this idea to me in 1968, I would have cried. That
was the beginning of high school for me, and not coincidentally, the
beginning of my obsession
with you. Having outgrown Donovan and Gordon Lightfoot, I was seduced
by your sophistication, your lack of artiness, your appropriately
quotable lyrics ("Well
there was a man who lived in a shed/Spent most of his days out of his
head"; "In search of a master/In search of a slave") scrawled in the
margins of my biology
notes, and, of course, your acoustic guitar whispers. I gobbled up as
much of your virtually non-existent discography as I could, gleefully
unfulfilled collaborations and B-sides, and countless non-
appearances. Your appearance on 'Top of the Pops' was, like, the
highlight of my life. With a friend, I
created a fan magazine devoted to you. (Please don't ask to see it,
it's really embarrassing.) I remained devoted throughout high school;
on my senior-yearbook page,
I thanked my family, my friends, and Nick Drake. And why do you think
I came to Rangoon to go to college?
But a curious thing happened the summer after my freshman year: You
made an album I hated. Not some weird one-off, but a Big Heavily
Promoted Album, 'Bryter
Layter.' Faux-beatnik mumbo-jumbo, aimless, tuneless meanderings, and
general stagnation made it limp like a three-legged puppy. In your
latest press release,
'Bryter Layter' is described as "langorous" (sic). When I look
up "languor" in my Webster's, it has a few definitions. The second
one may be "a dreamy, lazy mood
or quality," but the first one is "lack of physical or mental energy;
listlessness." So maybe you know the record bores even chumps. "Black
Eyed Dog," a one-off
single, wasn't so hot either, but it had its gripping moments, and
anyway, I was still so caught in the throes of passion at the time,
you could do no wrong.
But now you can. I'm afraid my disappointment continues with 'Pink
Moon.' The new album isn't terrible, just dull. The quiet parts
aren't quiet enough and the pretty
parts aren't pretty enough. Joe Boyd apparently isn't a full-time
producer anymore, as he seems to have been too busy launching Maria
Muldaur into the stratosphere
to get you off the ground. And all that talk about the influence of
the Munich '72 Olympics on the record (quoth the press
release: "'Pink Moon' is [ostensibly]
named after the location of Nick Drake's studio. . . . Pink Moon is
also the name of the cat who was struck by one of the terrorists
bullets...") sure didn't amount to
much beyond the album artwork. Well, the lyrics to "Parasite" might
allude to it, but then again, they might not.
You're still a master of suspense, skillfully building and building
and building tension. But the foreplay, which once heralded wistful
sighs in "Fruit Tree" and
"Cello Song," now leads to nothing but flaccidity and frustration.
Many tracks follow your trademark "River Man" verse/chorus/extended-
formula that may have seemed revolutionary back in 1968, but just
sounds predictable 4 years later. And the lyrics? Not one quoteworthy
tidbit in the lot, unless
"Counting the cattle as they go by the door/Keeping a carpet that's
so thick on the floor" counts. The minor majesty last heard on 'Five
Leaves Left"'s "Saturday
Sun" is still MIA. If 'Pink Moon' didn't have the name "Nick Drake"
attached to it, nobody would give it a second listen. . . . Well,
maybe for "Horn," in which
acoustic guitars simulate a red traffic light, you mutter like you
have the measles, and it's all over in just under two minutes. Or
for "Which Will," which, like most
of your better songs, possesses a mysterious quality that causes my
knees to weaken and my heart to go pitter-patter. But those two songs
are tiny ships in a sea of
I wish it didn't have to be that way. The bargain bin is already
overflowing with efforts by singer-songwriters who have overstayed
their welcome. Why not reduce
future clutter? Your place in folk history is certainly secure, what
with you basically reinventing the sound of the acoustic guitar and
influencing, like, every
somber folkie in the last 4 years. Plus, the time and money that we
would have spent on your no-show concerts and new releases could go
to the younger, more
introspective vocalists you've always championed and mentored.
Please think about it, Nick Drake. Calling it quits would allow you
to spend more time with your grandmother and your goldfish and your
poetry collections. Or you could just sit around reflecting on how
sad you are. You must be tired after all these years. You deserve a
long vacation. But everything I've said here should come as no
surprise. After all, aren't you the singer that said, "Day is Done"?
'Folk Weekly,' 1972
― tristan lowther, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― Chuck eddy, Friday, 12 July 2002 00:00 (10 years ago) Permalink
That's not a defense of Drake-as-artist, though: my defense of Drake-
as-artist is that there is a definable sense to all of his
material, this distinctive and pervasive quality that sort of
comes down to this: he sounds sad. He sounds tired.
Even his most sprightly songs and his most "harrowing" ones have the
same affect, this great weary laying-down-to-die sigh that strikes
really good balances between being read as comforting and being read
as deadly. And this worked for him: he embodied it personally
and it seemed artless, and on certain recordings it sounds as if
everything is trying to counter it but there's just no way
through his beaten-down torpor. I find this interesting; plus the
songs are consistently good.
(Hahaha anyway who else sings about weasels and their teeth?)
― nabisco%%, Friday, 12 July 2002 00:00 (10 years ago) Permalink
I agree. It's the sad/pretty duality that gets me.
- Sameness, like it or not, is damning. The fact that the Ramones and
Wedding Present have followings doesn't mean they aren't overrated
(and I would definitely say that of the former).
- By "technically sound" I meant that Drake had a distinctive
technique (practice makes perfect), but it seems to have been a one-
trick filly. It doesn't develop on Bryter or Pink Moon,
and it wasn't used in many different ways to begin with. Hence, a
good number of tunes are interchangeable. I suppose there's a
revelation waiting for me on the lost album??
- Melancholy as the songs may sound, were they capable of any other
moods? Sadness only moves when it is set against something else. I
think Drake's vocal range was so cramped and limited that he couldn't
help but sound that way, except perhaps on "Fly".
- I'm not an expert on English folk and don't know how he sounded in
that context; if I were, I needn't have asked the question. As far as
other folk artists, the average Tim Buckley song is way, way outside
What one poster said about "potential" points, I think, to Drake's
principal appeal. He wasn't brilliant, but he sounded capable of
becoming so if he ever got through his depression and developed a
― , Friday, 12 July 2002 00:00 (10 years ago) Permalink
― Sean Carruthers, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― your null fame, Friday, 12 July 2002 00:00 (10 years ago) Permalink
You realize your "sameness is bad" argument can be used to dismiss
virtually every single act in the history of music?
― Justyn Dillingham, Friday, 12 July 2002 00:00 (10 years ago) Permalink
proof: [x] records a song + it is good + all [x]'s songs are the
same = all their songs are good!!
how do you do that then?
''but no one owes you an "argument" as to why nick drake is worth
listening to - either you like him or you don't, and there's no point
in assuming there's some objective quality that a nick drake fan can
make you understand''
there's no point discussing so...just what is the fucking point of a
discussion board then?
For instance i liked the fact that someone earlier in the thread was
hearing drones in Nick's playing. Though I didn't hear it, it made me
look at him from a different angle.
And of course: i think yr dislike of Fushitsusha is faked to prove a
point so there's no need for me to answer it.
The comment about unsatisfactory arguments stands. Saying Drake is
beautiful, haunting or simply a genius tells me nothing about him in
relation to other musicians, yet that is how nearly all defenses of
him proceed. To be fair, the accusations (on ILM, at least) are often
relatively vague themselves. I tried to change that here, and if it
has improved the quality of the responses, I haven't wasted my time.
Re: sameness - yes, from a certain viewpoint, all artistic endeavors
are the same. Provided you specify the universe of discourse,
however, it is quite possible to call some bodies of work more
uniform than others. My parameters in this case are popular rock and
folk music from the 1960s onward. Yours?
*Which is intentionally hyperbolic instead of descriptive.
― FUCK OFF, Friday, 12 July 2002 00:00 (10 years ago) Permalink
― your null fame, Saturday, 13 July 2002 00:00 (10 years ago) Permalink
Advanced musicology isn't required to see the near-identity
of "Northern Sky" and "From the Morning", "Chime of a City Clock"
and "Parasite", the recurrence of melodic passages, the mumbled
cadences that crop up in nearly every song, etc. I could go back and
make a long list of examples, but your words don't encourage me:
you won't be able to persuade me to the contrary about nick drake,
fushitsusha or any other artist using objective criteria
If uniformity, repetition, and relative complexity aren't things you
can be persuaded to see, about which you find argument pointless,
then I doubt I could convince you your face was symmetrical if you
didn't already believe it.
people tend to relate to music emotionally so "haunting, beautiful
or simply a genius" are all things you're more likely to hear
than "well, his fingerpicking style is derived from x, his
songwriting is comparable to y," or an evaluation against his
"Beautiful" and "haunting" are useless as objective bases, and rarely
show up in aesthetics. Taste is another matter, but--again--I have
never been talking about tastes. You recognize the difference between
liking and admiring something, don't you? Between "relating to" Drake
and thinking critically about his work? Not wanting to do the latter
is fine, but this thread shouldn't concern you if that's the case.
― , Saturday, 13 July 2002 00:00 (10 years ago) Permalink
― Christine "Green Leafy" Indigo, Saturday, 13 July 2002 00:00 (10 years ago) Permalink
I'm not a good (or patient) writer,but I'll try and make one point.
Art of all kinds can be analysed and discussed with many
different criteria. An artist's techniques can be picked apart
endlessly; this is fine and good. But if the ultimate purpose of
(some if not most) art is to arouse emotion, evoke feelings, then
saying you like something is beautiful is reason enough. What
separates Drake from the other singer-songwriters of his day
may indeed be a quality that we can pin down. However when
discussing art it sometimes happens that this quality cannot be
pinned down. If all you're after is cold hard logic, this answer is
obviously unsatisfactory. If you understand that an emotional
response, however difficult to describe, is sometimes not only
an adequate response to art, but often the best one, then this
kind of answer is adequate, in fact may be the only one
The very name of this bulletin board suggests where I'm coming
from. Yes we all like talking about music... to the extent that
disinterested parties would think us nuts. But if we love
music, at the end of the day it should be understood that after all
the technical discussion has died down, love is a mysterious
emotion that needs no explanation. I hope you understand this.
― Sean, Saturday, 13 July 2002 00:00 (10 years ago) Permalink
I grinned manically when i read that. And coupled w/the fact that you
didn't have the guts to tell us who you are. From a coward like you,
I take the above as a compliment.
― Julio Desouza, Saturday, 13 July 2002 00:00 (10 years ago) Permalink
I've not listened to it in about 5 years, but I seem to remember Pink Moon being perfect if I was in good mood and just as perfect if I was sad about something.
So yeah, it's probably twee.
― Gukbe, Saturday, 2 June 2007 01:12 (5 years ago) Permalink
Why is his music "twee"? Is all folk music twee?
― Bimble, Saturday, 2 June 2007 01:44 (5 years ago) Permalink
Please. Nick Drake is not twee.
― St3ve Go1db3rg, Saturday, 2 June 2007 01:47 (5 years ago) Permalink
is this a u.k - u.s divide? i know twee is strictly pejorative over there and isn't over here (as much), though I don't think it qualifies as twee either way personally a case could be made.
― tremendoid, Saturday, 2 June 2007 02:05 (5 years ago) Permalink
Wait, where do you think twee is strictly pejorative? I often think it's funny the way twee is sometimes used as a favorable or neutral descriptor and other times as a sneering insult, depending on who says it and how it's said.
― St3ve Go1db3rg, Saturday, 2 June 2007 02:27 (5 years ago) Permalink
the u.k., i thought. My impression is that it didn't have any connotation over here (u.s.), so when people called sarah stuff or whatever 'twee' we just picked it up and ran with it as a neutral quasi-genre descriptor.
heh I've read 'twee as fuck' more than once, i have no excuse to be so fuzzy about such things.
― tremendoid, Saturday, 2 June 2007 02:44 (5 years ago) Permalink
I think of "twee" as being specifically associated with Sarah records, bands like Heavenly, Talulah Gosh or I guess even Belle & Sebastian. I normally don't like that kind of music, so to me it is pejorative. I don't think it has much to do with nationality, really.
Now is the time to confess, though, that what I dread even more than the term "twee" applied to Nick Drake is "emo". I do believe there are special torture chambers in hell for people who would call him that.
― Bimble, Saturday, 2 June 2007 02:50 (5 years ago) Permalink
I didn't read the older parts of this thread earlie, but this:
No one wants Drake to turn out to the crowd and trying different things: his entire appeal is the way he stands in the corner with his back to you, clutching his guitar and mumbling mournfully. The whole point of listening is to somehow squeeze yourself between him and the corner walls, where you can hear him.
Is amazing. Nabisco, that is awesome, and spot on.
― Trayce, Saturday, 2 June 2007 02:52 (5 years ago) Permalink
Yeah, I confess I'm a Nabsico fan, too. Amen.
― Bimble, Saturday, 2 June 2007 03:42 (5 years ago) Permalink
So leave your house come into my shed
Please stop my world from raining through my head
Sigh. So lovely. So sad. So right.
― Trayce, Saturday, 2 June 2007 03:48 (5 years ago) Permalink
I think the first time I heard "Road" off of Pink Moon was my awakening to quite how beautiful and powerful music can be.
Pretty much responsible for everything I've loved about music ever since.
― Uptoeleven, Saturday, 2 June 2007 13:47 (5 years ago) Permalink
"Road" is oftentimes my favorite Nick Drake song and is also proof that Nick Drake has the most incredible fingerpicking technique of anyone ever.
― Curt1s Stephens, Saturday, 2 June 2007 21:23 (5 years ago) Permalink
I can't make my thumb move like that.
― Curt1s Stephens, Saturday, 2 June 2007 21:25 (5 years ago) Permalink
"Road" is definitely some super badass guitar playing.
As for twee, the origin of the term as a musical descriptor is definitely British, but I've heard it used in the US.
I lived in England for a bit but I'm not sure I ever actually heard anyone say it over there. I believe that it may have started as a strictly pejorative term, but then so did "baroque." I think it's all about context, really. Some people love twee and some people hate it. I just think it's funny the way both groups seem to use the term without explanation and expect their audience to know whether they mean it as a compliment or an insult.
― St3ve Go1db3rg, Saturday, 2 June 2007 22:43 (5 years ago) Permalink
Dave Grohl, Heath Ledger and Norah Jones: why?
― Yehudi Menudo (NickB), Tuesday, 20 January 2009 12:06 (4 years ago) Permalink
A forthcoming album celebrating the cult singer-songwriter will include controversial footage of the late Heath Ledger simulating suicide to Drake's Black Eyed Dog. Nice!
― Yehudi Menudo (NickB), Tuesday, 20 January 2009 12:07 (4 years ago) Permalink
I'm sure the Drake family will be delighted, they've never accepted his death was suicide - but who cares what they think anyway, eh?
― Vicious Cop Kills Gentle Fool (Tom D.), Tuesday, 20 January 2009 12:11 (4 years ago) Permalink
that footage in question is pretty cool. very sombre.
― Charlie Howard, Tuesday, 20 January 2009 12:12 (4 years ago) Permalink
NJones did "Day is done" as the b-side to Nick Drake's own "River Man" single.
― Mark G, Tuesday, 20 January 2009 12:15 (4 years ago) Permalink
David Schulhof, co-founder and co-CEO of EverGreen Copyrights, made the announcement at the MidemNet conference this week. His company controls the US rights for several deceased artists, including Drake and Roy Orbison. (...)"Fans are willing to pay for (this) kind of product," Schulhof said, speaking of the tribute.
"Fans are willing to pay for (this) kind of product," Schulhof said, speaking of the tribute.
Blimey, tell it like it is or wot?
― Mark G, Tuesday, 20 January 2009 12:17 (4 years ago) Permalink
Saw the thread revive, read the exchanges at inception, and thought of the solo in Black Eyed Dog and then realised I'd already posted about it, so, here it is again:
I stand by what I said upthread, in that I love FFL pretty much whole, but only find other songs beyond that really compelling. I like Drake, and loved him, possibly, for a while when I was about 17.
Consistency or un-variation I don't see as a problem at all; in fact an artist exploring their aesthetic over a number of years and records is often very compelling.
Possibly the crux of Drake for me, and the moment which proves he's not just an emotional one-trick pony, is the miraculous, soaring, joyous (to me, at any rate) acoustic guitar solo which sears through the centre of "Black Eyed Dog"; possibly it's Drake's saddest tune, his most defeated - he certainly sounds to me as if he's crying as he sings it - and then this solo tears the song in two, elevates the mood incredibly, exposes blue skies where there was really only black before.
― Scik Mouthy, Friday, June 1, 2007 10:15 AM (1 year ago) Bookmark Suggest Ban Permalink
― Sickamous Mouthall (Scik Mouthy), Tuesday, 20 January 2009 12:40 (4 years ago) Permalink
Pearl Jam's Eddie Vedder
― straightola, Tuesday, 20 January 2009 12:41 (4 years ago) Permalink
A forthcoming album celebrating the cult singer-songwriter will include controversial footage of the late Heath Ledger simulating suicide to Drake's Black Eyed Dog
WTF! that's the strangest thing to put on a tribute album ever.
― Ludo, Tuesday, 20 January 2009 12:52 (4 years ago) Permalink
Are there any other songs that Ledger was filmed simulating suicide to? Is this something he did often?
― Mark, Tuesday, 20 January 2009 13:50 (4 years ago) Permalink
― "Two Ears" Laybelle (Noodle Vague), Tuesday, 20 January 2009 13:53 (4 years ago) Permalink
What was "the Ledge" listening to when he died, eh? Eh?
― Sickamous Mouthall (Scik Mouthy), Tuesday, 20 January 2009 13:56 (4 years ago) Permalink
Meet On The Ledge?
― Yehudi Menudo (NickB), Tuesday, 20 January 2009 13:58 (4 years ago) Permalink
Fleetwood Mac, "The Ledge"
― Vicious Cop Kills Gentle Fool (Tom D.), Tuesday, 20 January 2009 14:00 (4 years ago) Permalink
― Vicious Cop Kills Gentle Fool (Tom D.), Tuesday, 20 January 2009 14:04 (4 years ago) Permalink
"Close to the Ledit"
― Mark G, Tuesday, 20 January 2009 14:05 (4 years ago) Permalink
"Hey, what'd you do last night?"
"We decided to stay home-- wound up watching footage of Heath Ledger simulating suicide to Nick Drake's 'Black Eyed Dog'."
― Mark, Tuesday, 20 January 2009 14:21 (4 years ago) Permalink
"Cool, what a nice way to celebrate the memory of Nick"
― Vicious Cop Kills Gentle Fool (Tom D.), Tuesday, 20 January 2009 14:23 (4 years ago) Permalink
I'm holding out for:
Heath Ledger Simulating Suicide to the Music of Nick Drake: The Criterion Collection
― Mark, Tuesday, 20 January 2009 14:31 (4 years ago) Permalink
yeah i was WEIRDED out by the news (i wrote that gruniad article) but uh edited out all my joke-joke-jokes after reflection on the whole er suicide angle.
― sean gramophone, Tuesday, 20 January 2009 14:56 (4 years ago) Permalink
There isn't anything about this thing that doesn't make me want to puke.
― I am a vampire, therefore I take garlic pills (Bimble), Tuesday, 20 January 2009 21:03 (4 years ago) Permalink
words fail me, what a sick world.
― alex in mainhattan, Tuesday, 20 January 2009 21:40 (4 years ago) Permalink
I was expecting farcial slapstick.
― ^likes black girls (HI DERE), Tuesday, 20 January 2009 21:41 (4 years ago) Permalink
a bunch of unrehearsed session musicians trying to accompany a man who obviously knows his own songs pretty well is never a recipe for success
― If Timi Yuro would be still alive, most other singers could shut up, Tuesday, 20 January 2009 22:03 (4 years ago) Permalink
― tylerw, Friday, 11 May 2012 22:45 (1 year ago) Permalink
― Bandersnatch Cumberbund (upper mississippi sh@kedown), Friday, 11 May 2012 22:50 (1 year ago) Permalink
it is going to rock SO HARD. actually i think there's some recordings of her singing in one of the drake documentaries, and it's pretty nice stuff, you can tell that she influenced nick quite a bit. sort of seems like releasing something by the dude's mom would be the ultimate in barrel scraping, but i am curious to hear it.
― tylerw, Friday, 11 May 2012 22:53 (1 year ago) Permalink
ian macdonald's essay on drake is classic.
― (The Other) J.D. (J.D.), Friday, 11 May 2012 22:55 (1 year ago) Permalink
oh here's a radio show about her: http://www.wnyc.org/shows/spinning/2012/apr/22/
― tylerw, Friday, 11 May 2012 22:59 (1 year ago) Permalink
There's a couple of tracks on "Family Tree" she sings on.
― Mark G, Friday, 11 May 2012 23:00 (1 year ago) Permalink
This is the missing link in the Nick Drake Story” (Joe Boyd)
We are pleased to announce the release of a privately-pressed CD plus a collection of poems by Molly Drake, Nick Drake’s mother. Some of you will be aware of her songs having watched the film A Skin Too Few or having bought the compilation album Family Tree. It is due the response from this exposure that we feel the time may be right to release some more material. Molly Drake wrote and performed songs just for herself, her friends and her family. She did not seek publication for them or for her poems, which seem to have been deeply personal observations. Fortunately, for us, her husband made amateur recordings of her songs on tapes that have lain dormant for 60 years.
The sound quality of the recordings reflects their home-made nature as well as the age of the magnetic tape. Though they have been repaired and made listenable to, the recordings have not been over-restored, since we feel that the sound quality is an integral part of this first experience of Molly’s music. The entire recording was engineered by John Wood, Nick Drake’s friend, engineer and co-producer of Pink Moon.
The 19 songs include How Wild The Wind Blows, I Remember, Poor Mum and Do You Ever Remember?
The CD comes with a 70 page booklet containing 45 poems housed in a card portfolio.
This initial edition is only available here:
― Lee626, Friday, 11 May 2012 23:11 (1 year ago) Permalink
― Mark G, Friday, 11 May 2012 23:19 (1 year ago) Permalink