JOHNNY OLSEN'S BJH PAGE

I recently began subscribing (totally free of charge) to the onelist organisation on Barclay James Harvest.
There I have met with like-minded people who love the music of this group. We have all become one happy family and that is due in no small amount to the work of Johnny Olsen from Norway.
Johnny has worked his way through every BJH song, giving them all gradings and placed them in order.
As a small thank you to Johnny I have reproduced his charming comments below (leaving the reviews exactly as they were written).
Johnny listed them in reverse order so that number one is his least favourite track and 226 his favourite.
I would publicly like to thank Johnny for the hours he put into this labour of love and for the fun that we have had reading the reviews.
Peter Steward
Firstly I asked Johnny for a picture and you will see that above. Then I asked for some biographical notes and this is what he wrote.
Johnny Olsen, born back in 1956, married since 1977 to the same beautiful woman; having 4 kids living in a small town just outside the capital of Norway.
Been a sworn fan of Barclay James Harvest since I first heard them back in 1970, and having always since then treasured their music, collecting their records.
Saw the band twice; in Oslo back in 73, and in Drammen 81, two complete different, but equally important and enormous gigs. The first one in front of 500 the second for 6000 audiences. Pity they haven't been in Norway after that.
Also love aløl kinds of progressive symphonic rock from the 70's, and maybe most of all besides BJH: The Beatles, who were the roots to all good music ever after.
Now for Johnny's list.

1)CHILDREN OF THE DISAPPEARED - 1997
In difference to most other BJH-songs, this is quite insignificant and
a very little melodious song. The calypso-related rhythm that takes
over after a couple of minutes does the song just more tragic.
A strange "withdrawal" to a good guitar-solo makes the picture just
more strange.
The song doesn't  "stick together" at all:
FROM: RIVER OF DREAMS                           GRADE: 2,85


2)GOOD LOVE CHILD - 1970
Straight rocker from 1st album. Noisy, stressy and a bad melody. Best
suitable as a B-side of a "middle-of-the-road"-single. Completely off
the ordinary BJH-track as regards style.
Thank God this is the opening-track of side B and not A. That would
have been a tragedy to the sales-figures.
FROM: BARCLAY JAMES HARVEST                  GRADE: 3,00


3)THANK YOU - 1972
Straight rocker from the bands least good album. Luckily they managed
to "reorganize" in connection with the move to Polydor. Anyway a
better melody than i.e. "Good love child". The song is "saved" by
John's wonderful voice. Wooly's piano-"plucking" doesn't make the song
any better. A floating organ or mellotron in the background would've
made it far better.
FROM: BABY JAMES HARVEST                GRADE: 3,25


4)PANIC  - 1987
Powerful intro with thundering bass and heavy guitar. Yet another
straight rocker that because of it's compact sound is better than both
"Thank you" and "Good love child". This is also because of the
time-difference (15 years) between the productions. But the melody is
also far better.
FROM: FACE TO FACE                      GRADE: 3,40


5)DELPH TOWN MORN (LEES) - 1972
Another "weak" song from Baby James Harvest. Nice accoustic intro, but
somewhat insignificant melody, with a "jumble" of instruments, winds,
accoustic piano and the accoustic guitar. As usual a weak tune is
saved by beautiful vocal. Terrible windarrangements. Not memorable at
all.
FROM: BABY JAMES HARVEST              GRADE: 3,60


6)HOLD ON (HOLROYD) - 1984
A "split-up"melody; straight rocker; with "fussy" ladyvocal on
refrain. "Bad" keyboards "rolling" in the background. A bad commercial
try. A plus for John's guitar-solo.  A somewhat "jolly" interlude
after the solo with good keyboard-arrangement. Back to the noisy fuss
after that.
FROM: VICTIMS OF CIRCUMSTANCES                GRADE: 3,75


7)BLUE JOHN'S BLUES (Lees) - 1971
Another somewhat "noisy" tune, but the kind of lazy tempo does the
song listenable. Can't really say I like the accoustic piano
playing(I've never did from anyone). The tubular bells is enjoyable.
FROM: AND OTHER SHORT STORIES           GRADE: 3,80


8)POOR BOY BLUES(Lees) - 1974
Barclay James Harvest goes country. Nice harmonies and melody, but too
simple. If it hadn't been for Les and John's voices it could've been
made by some "cheap" country-artist. Big credit for the vocal-parts.
FROM: EVERYBODY'S EVERYBODY ELSE        GRADE: 3,90


9)HOLD ON(live) (Holroyd) - 1988
This live-version is far  more vital and faster than the
studio-version from "Victims", and that "suits" the tune very well. It
does the whole arrangement of the song more complete. And not the same
"noisy" ladys choir on the refrain as on the studio-take. Almost like
a completely new song.
FROM: GLASNOST                          GRADE: 4,10


10)MILL BOYS (Lees) - 1974
As the natural continuation of  "Poor boy blues"; same sound but far
more "nice" melody.  I miss some keyboard-harmonies. The  whole
arrangement is too "weak" and a steel-guitar doesn't "belong" in music
by BJH.
FROM: EVERYBODY'S EVERYBODY ELSE        GRADE: 4,15


11)CRAZY CITY (Holroyd) - 1974
This live version is poorer than the studio-take. Much poorer
keyboard-sound and the complete sound is bad, especially the vocal;
it's simply "killed" by the backing. The guitar is not that aggressive
as on the studio-version.
FROM: LIVE                              GRADE: 4,25


12)CRAZY CITY (Holroyd) - 1974
Too noisy intro. The guitar almost sounds "ugly". Mel's keyboard does
"shapen up" the sound. The vocal on the verse is on the contrary
beautiful beside the accoustic guitar. The vocal harmonies are very
good, but the song is totally too "split up".
FROM: EVERYBODY'S EVERYBODY ELSE        GRADE: 4,35


13)CRAZY CITY (Holroyd) - 1978
Much more speedy and fresh than both studio and earlier live take.
Sound is, as the total "Live tapes"- album superb. Guitar and
keyboards are far more perfect, both played and arranged than the
other two.
FROM: LIVE TAPES              GRADE: 4,45


14)HARRY'S SONG (Lees)  - 1971
Another halfaccoustic tune with accoustic guitar and piano. Somewhat
"cut-up" song with some Elton John-touch. Unneccessary phasing on
vocal. A bit "closed in" sound. Mel's drumming dominate, especially
the cymbals. Good harmonies at the end.
FROM: AND OTHER SHORT STORIES   GRADE: 4,60


15)CHILD OF MAN (Lees) - 1972
Myctic sound and melody on this single-tune from 1972
Good double-guitar like Wishbone Ash. Funny changing rhythm where Mel
is hard-working on the cowbell . The accoustic guitar and the
fuzz-bass fits together as the hand-in-a-glove.
FROM: EARLY MORNING ONWARDS             GRADE: 5,05


16)THE IRON MAIDEN(Barclay James Harvest) - 1970
Pleasant tune with mellotron and bass-guitar as the  distinctive
instruments. Enjoyable guitar-playing by John. The melody itself is
nice without being the real "BIG ONE".
FROM: BARCLAY JAMES HARVEST             GRADE: 5,10


17)ROCK AND ROLL WOMAN(Holroyd) - 1973(77)
Good rocky guitar-intro on this tune originally released as a single
in 73. Les' vocal is somewhat "racked", but very good harmonizing(as
always) vocals on refrain. Also on verse in the middle. Second voice
does the tune very listenable.
FROM: Single and BEST OF VOLUME 1       GRADE: 5,15


18)DEATH OF A CITY (Lees) - 1981
Straight rocker which has a "springy" intro, going over to a nice
melody. A kind of  "awaitin'" throughout the song. Like it can't get
"started" until it's over in a floating interlude. Very good
harmonizing on the vocal.
FROM: TURN OF THE TIDE                  GRADE: 5,25


19)THE JOKER (Holroyd/Lees) - 1973(77)
This B-side of Rock and roll woman has a very pleasant guitar-intro
before vocal breaks onto it and the rest falls in afterwards. A bit
"heavy" drumming by Mel which makes the song a bit "tardy". Good
double guitar-solo. And as usual: Plus for excellent vocal.
FROM: Single and BEST OF VOLUME 1       GRADE: 5,30


20)SONG WITH NO MEANING(Holroyd) - 1971
Beautiful accoustic intro with cymbals and tablas. Instruments falls
suitable into the song one by one. The muted guitar-solo by John
breaks the "routine" of the song. And as usual: beautiful harmonizing
of voices.
FROM: AND OTHER SHORT STORIES           GRADE: 5,40


21)CRAZY (OVER YOU) (Holroyd) - 1972
Pleasant guitar-intro that slides into the even more pleasant
vocal-verse that's building up towards the refrain. Good song that
raises above the average. The heavy fuzz-guitar in the background adds
a spice to the sound.
FROM: BABY JAMES HARVEST                GRADE: 5,45


22)MIDNIGHT DRUG (Lees) - 1983
Another straight rocker with some mystic sound. The accoustic guitar
and phasing synth fits well together. Not especially memorable melody,
but again the arrangement of instruments is superb.
FROM: RING OF CHANGES                   GRADE: 5,50


23)VICTIMS OF CIRCUMSTANCES(instrumental) - 1997
The only way this version could be useful for us, is listening to each
instrument separately, but without the vocal the total "sound-picture"
is to tiny. Only the piano playing a kind of "solo" and the
lady-vocals on refrain seems totally misplaced without any other vocal.
FROM: ENDLESS DREAM                     GRADE: 5,55


24)SKIN FLICKS  - 1979
Great keyboard opening before sliding over to vocal wit light backing.
Gentle melody with an arrangement that's kinda "funny" with a
picking(it must be) bass guitar on higher strings. A bit split-up
before entering of the "fanfare" in the middle of the song. After that
some queer "calypso-rhythm" with tablas and some spacy keyboards + an
accoustic guitar that fits in completely.
Strange text which for me seems to be viewed from a man who's about to
lose his pinup girl. Not of the deepest meaning to me.
FROM: EYES OF THE UNIVERSE              GRADE: 5,60


25)POOLS OF TEARS (Lees) - 1997
A bit traditional "pop-intro" which remains through the song. But even
if the song is somewhat "plain" it's saved by a beautiful vocal(as
ever) and the melody itself is really nice. Doesn't haveto say this
but: beautiful harmony-vocal on refrain. Brilliant accoustic
guitar-solo.
FROM. RIVER OF DREAMS                   GRADE: 5,65


26)INSIDE MY NIGHTMARE (Lees) - 1984
Powerful rocker with suitable ladies-voices that fits to John's vocal.
The funky keyboard-bass also makes the song very  "frisky". The
floating intro to the refrain is really atmospheric. Can anybody tell
me what John means by the lyric???
FROM: VICTIMS OF CIRCUMSTANCES          GRADE: 5,70


27)HIGHWIRE (Holroyd) - 1983
Grande keyboard-opening sliding over to Les' vocal with upbuilding
backing. Nice synth laying behind. Refrain somewhat straight, but so
much happening in the arrangement that the total is good. Groovy
bass-sound throughout.
FROM: RING OF CHANGES                   GRADE: 5,75


28)A TALE OF TWO SIXTIES (CLASSICS) (Lees) - 1978
Juicy guitar-opening until John's voice tunes down. Somewhat rhythmic
background making the song a bit "jerky". Good melody without being
glittering. The fuzzy guitar and the "spinetish" keyboards does the
sound well.
FROM:  XII                              GRADE: 5,80


29)HIGHWAY OF FOOLS (Lees) - 1981
Powerful guitar-intro over to straight verse. The refrain is somewhat
superb with the keyboard "ringing out". The interlude with guitar-solo
is excellent. The song is varied and not boring at all!
FROM: TURN OF THE TIDE                  GRADE: 5,85


30)LEPER'S SONG (Lees) - 1977
Powerful intro with guitar and keyboard-chords, before it goes into a
juicy rhythm with great guitar-playing. Some funky rhythm marks the
whole tune. A quite simple somng with a gigantic orchestration tha
raises the whole picture of it. If I haven't misjudged the lyrics, it
is about a man who's come to the end of a long life, top enter heaven
on permanent basis?
FROM: GONE TO EARTH                     GRADE: 5,90


31)MR SUNSHINE (Barclay James Harvest) - 1968(72)
Quiet tune with beautiful intro backed with semi-accoustic guitar,
tablas and flute. The B-side of their very first single were quite
remarkable for a B-side in 68 to be. A somewhat oriental sound. The
vocal-harmonizing were already at that stake excellent.
FROM: Single and EARLY MORNING ONWARDS  GRADE: 5,95


32)POLK STREET RAG (Lees)  - 1976
Not that energetic opening as the better live-version. Far more gentle
sound, but not that bad at all.In fact the echo-effects on the vocal
is much more structured in studio. Wooly's keyboardsseems to be to
muted. Can't get anything out of the lyrics. Does anybody know what
the song is about?
FROM: OCTOBERON                         GRADE: 6,00


33)BALL AND CHAIN (Barclay James Harvest) - 1971
Real laidback intro with juicy bass-playing and "jingling"
guitar-solo. The vocal-sound differs completely from other early
BJH-songs(who's singing here?? Help!!) This is a perfect example of an
early "power-ballad". This song could even have been used by any of
todays heavy-bands. Beautiful guitar-solo.
FROM: ONCE AGAIN                        GRADE: 6,05


34)HAPPY OLD WORLD (Wolstenholme) - 1971
Wonderful vocal-intro by Wooly, with only his quiet organ and Les'
bass behind it. Mel's drums just "crawls" in by the backdoor. Builds
well up to the rafrain where the organ and drums are playing a vital
part. A real atnospheric song where you can imagine sitting on a bench
at sunset just enjoying life and look at the sun disappearing over the
hill.
FROM: ONCE AGAIN                        GRADE: 6,10


35)POLK STREET RAG (Lees) - 1977
As with all other songs on "Live tapes" this is far better than the
original studio-version. Enormous intro with powerful guitar before
the rhythm sets in fully. The vocal-sound with echo is glittering and
Wooly's keyboards just remain perfectly in the background, but "pops
out" from nothing to make the sound perfect.
FROM: LIVE TAPES                        GRADE: 6,15


36)TURNING IN CIRCLES (Holroyd) - 1978
Funky guitar-opening and a thumping bass that breaks down the speakers
if you play loud enough. The refrain is simply marvelous kwith a
melody that goes straight into your spinal cord; breaks the funky
verese completely. The organ-sound just fits perfectly.
FROM: XII                               GRADE: 6,20


37)DOCTOR DOCTOR (Lees) - 1981
Funky bass and keyboards pushes in from the start. Funny inputs from
synths from time to time, but the song is too "cut-up". The rhythm
does not "stick together" at all. The bass should've turned over to a
more straight run. The interlude, on the other hand, is great!!
FROM: TURN OF THE TIDE                  GRADE: 6,25


38)SPUD-U-LIKE (Lees/Lawrence) - 1993
Funny opening with sound as a video-game before a straight rock rhythm
moves in. The song itself is simple and sounds a bit "plastic", but in
a way it catches me, especially the refrain with that"o-e-o-o".
FROM:  CAUGHT IN THE LIGHT              GRADE: 6,27


39)FIFTIES CHILD (Lees) - 1983
Funny opening with strings building up in a great symphonic way. The
band falls in perfectly while the violins left the "arena". A quite
simple song, but oh so well built up with the strings coming back;
filling out and making the sound perfect.
FROM : RING OF CHANGES                  GRADE: 6,28


40)ONE HUNDRED THOUSAND SMILES (Holroyd) - 1972
Quiet intro with accoustic piano and drum-strokes before Les' gentle
voice turns up filling out. John's fuzz-guitar lies adjusted in the
background and raises to front into a terrific solo before falling
back to the intro-style. Very nice melody, even if a bit simple
arranged. Excellent double guitar-solo at end.
FROM: BABY JAMES HARVEST                GRADE:  6,30


41)SOMEONE THERE YOU KNOW(Barclay James Harvest) - 1971
Gentle intro with somewhat mute keyboards and "violin"-guitar(please
help me with that expression in English. I know there is a certain
form for playing guitart that style, but can't remember it), before
building up for a short while. Quite a simple melody, but very varied
and well built up. John's guitar sounds "heavy" and fuzzy as usual on
refrain. Mel's drumming is very listenable itself(try listening to the
song once more and only concentrate on the drums).
FROM: AND OTHER SHORT STORIES           GRADE: 6,35


42)BELIEVE IN ME (Holroyd) - 1976
Quiet intro with Les' voice and accoustic guitar, before rhythm sets
in; simple, but catchy. An incredibly good melody that do not need
more powerful arrangements to sound well, but the interlude where John
and Wooly "pulls off" and those answering voices laying on top, is
perfect. Glittering guitar-playing from John.
FROM: OCTOBERON                         GRADE: 6,40


43)HARBOUR (Wolstenholme) - 1978
Here's a Wooly-song for a change. Quiet guitar-opening before Wooly's
voice and a nice accoustic guitar take over. Very good melody in a
gentle rhythm. Based very little on keyboards which is very strange as
it's Wooly's song. A moody interlude with bass and choir-vocal by the
boys. A very intelligent song, and extremely good.
FROM: XII                               GRADE: 6,45


44)WAITING ON THE BORDERLINE (Holroyd) - 1981
Synth-chord opening + synthbass grooves and Les' vocal in a somewhat
straight rocky rhythm. The vocal has a bit "closed" sound. The
arrangement on this song is too simple to be characterized as very
good. It never takes off, but not bad either.........
FROM: TURN OF THE TIDE                  GRADE: 6,50


45)I'M LIKE A TRAIN (Holroyd) - 1981
Beautiful piano-intro before synths and Les' incredible voice joins
in. The melody on verse is beautiful itself. The synth-"guitar" is
perfectly fitting the song. The somewhat staccato interlude i sgreat;
slides straight over to a rocky rhythm. Really great variation in song
with answering vocal-part on end of teh interlude.
FROM: TURN OF THE TIDE                  GRADE: 6,55


46)FRIEND OF MINE (Holroyd) - 1977
Sharp double-guitar intro, before a somewhat "countryish" rhythm sets
in. A quite simple song, but the organ and not at least Les' vocal
raises the song to higher stakes. A funny banjo at the end.
FROM: GONE TO EARTH                     GRADE: 6,60


47)PRISONERS OF YOUR LOVE (Holroyd) - 1987
A somewhat "closed" opening with keyboards and harmony-voices, before
straight rock-rhythm takes over. Though beautiful vocal-parts. Some
moody keyboard-interlude. The song is a bit too "synthish". Should be
better with a bass-guitar instead of the synth-bass.
FROM: FACE TO FACE                      GRADE: 6,62


48)WATCHING YOU (Holroyd) - 1984
Nice "glockenspiel"-sound on opening before the synth-bass pushes into
a funky "reggae"-rhythm. The song has not a very good melody and is
too synthish. Should anyway make it on the dance-floor with thundering
volume.
FROM: VICTIMS OF CIRCUMSTANCES          GRADE: 6,65


49)POOR WAGES (Barclay James Harvest) - 1969/72
The B-side of the "Brother Trush"-single is almost as good as the
A-side. The guitar-sound was/is special. The melody is a really pretty
one. Quite simple, but we're after all talkin' about 1969. It's not
much to say about this short one, only that it IS GOOD.
FROM: Single/EARLY MORNING ONWARDS      GRADE: 6,67


50)ROCK AND ROLL LADY (Holroyd) - 1979
Light and gentle intro with a "singing" guitar-solo. Traditionally a
melancholy melody from Les that really shows in front of the simple
backing. This song reminds me(and Tim?) somewhat of Blue Oyster Cults
"The reaper", but is far from that one in quality. Good song, but
something's missing. Can't figure out what.
FROM: EYES OF THE UNIVERSE              GRADE: 6,70


51)CHEAP THE BULLET (Lees) - 1990
Heavy guitar-opening into a straight heavy rhythm on this single. A
real pressure marks the song. Not as moody as it should be, and
although it has a very good arrangement, it lacks something, that
could've made it a hit-single.
FROM: WELCOME TO THE SHOW               GRADE: 6,75


52)FRIEND OF MINE (Holroyd) - 1997
This single-remix is not very unlike the album-version, but is a bit
more "brushed up" with small effects to "fit" as a hit-single. Better
than the studio-version on Gone to earth in all senses.
FROM: ENDLESS DREAM                     GRADE: 6,77


53)SIP OF WINE (Holroyd) - 1982
This is a  really springy tune from Les and the sound on the
"Berlin"-album is excellent. A quite simple song, but as always Les'
vocal-parts can raise an ordinary song to new heights. So lets drink
to this one, and join Les  drinking his wine(would've been something??)
FROM: CONCERT FOR THE PEOPLE - BERLIN   GRADE: 6,80


54)PSYCHEDELIC CHILD (Lees) - 1990
"Motor-cycle"-opening into real heavy guitar-riffs with a "howling
sirene" in background. A somewhat mystic sound refering to the
hippy-era naming "Greatful Dead, the Vietnam-war others in lyrics.-
Real powerful song with John "shining" on the guitar.
FROM: WELCOME TO THE SHOW               GRADE: 7,00


55)I'M OVER YOU(Lees) - 1972
The B-side of Cild of man has a great reverb-guitar at intro that
fades down to beautiful vocal backed with piano chords. A quiet song
with a pretty melody. Not much to say except: It IS great!!
FROM: Single/EARLY MORNING ONWARDS      GRADE: 7,10


56)ALL MY LIFE (Holroyd) - 1987
Atmospheric start with groovy keyboard-bass and a "wellplucking"
synth. Some mystic melody; a kind of "awaiting". You expect it to take
off, but it keeps up the same rhythm. The synth-solo combined with the
echo-voices keep up the atmosaheric mood. Good saxophone solo at end
with even more "crashing" backing.
FROM: FACE TO FACE                      GRADE: 7,15


57)ALONE IN THE NIGHT (Lees) - 1987
Wonderful accoustic intro with John's beautiful vocal and some
synth-inputs here and there. As the rhythm sets in fully, you can get
the  real  "kick" if you're not prepared. Grande
instrumental-arrangement and a powerful guitar-solo. Somewhat heavy,
but oh so well done. The accoustic part also turn up as an interlude.
Great! Real moody lyrics!
FROM:  FACE TO FACE                     GRADE: 7,25


58)SONG FOR DYING (Barclay James Harvest) - 1971
Intro with accoustic piano and voice before guitar and rest rushes in
by full force. John's fuzzy guitar gets a complete grip of your soul.
Wooly's piano plays a vital part and makes a wonderful frame(it's me
saying that!!) on the song. This is good!!
FROM: ONCE AGAIN                        GRADE: 7,27


59)WAITING FOR THE RIGHT TIME (Holroyd) - 1983
Melody "sneakes" in as a crescendo. The lady-"do-do-ing"is creating a
relaxed mood. A somewhat "awaitin'" rhythm backs up Les' melancholy
vocal with choir filling up with harmony-chords. I really like the
arrangement of this song.
FROM: RING OF CHANGES                   GRADE: 7,30


60)STAND UP (Bolland/Bolland) - 1992
The only tune the band has recorded(as far as I know) without being
written or co-written by one of the boys.A very powerful song from the
Bollands, who also wrote "In the army now" some years ago.The refrain
should be perfect for "crowd-singing" live. Really heavy stuff, and a
bit "aside" of the boys' own material.
FROM: STAND UP BUTTERFLY EP             GRADE: 7,35


61)SIP OF WINE (Holroyd) - 1978
Gentle phased guitar starts before the rest crashes in, and so cool down to
Les' usual pretty melody. The refrain is good with the organ backing up the
vocal. It doesn't really take off, but in all senses this is a nice song,
and even better than the live-version from Berlin.
FROM: XII                      GRADE: 7,37


62)LITTLE LAPWING (Holroyd) - 1971
Very quiet accoustic opening with guitar and some winds and keyboard. The
harmony-song is simply perfect. The orchestration is beautifully done. The
sudden rhythmic takeover just bumps in , wakening you up from your
"drifting away". Some funny horn-popins as solo part at the end makes the
conclusion of a beautiful song a bit confusing.
FROM: AND OTHER SHORT STORIES       GRADE: 7,39


63)ALONE IN THE NIGHT (Lees) - 1988
The live-issue of this song is even more powerful than the studio-version.
Mel's "rolling" on the toms is really thundering, and John's guitar really
takes off. The keyboard lies as a perfect "fillup" vaugely behind.
FROM: GLASNOST                 GRADE: 7,40


64)FOLLOWING ME (Holroyd) - 1987
Springy rhythm all away from the start. Sound a bit like "Life is for
living",
but isn't that good. I really like the rhythmic keyboards in the
background,
and the massive sound as John's guitar falls in with heavy chords. Building
up towards a gigantic mass of  sound in the instrumental interlude.
Les' voice is as always perfect.
FROM: FACE TO FACE                  GRADE: 7,42


65)THE LIFE YOU LEAD (Holroyd) - 1990
Moody intro on keyboards and Les' traditional soft ballad-voice even bring
the mood
to something complete. Some odd way to open an album with a song like that,
as the
openings usually are amore powerful song. But this one is simply beautiful.
The song
build up against a glittering guitar-solo.
FROM: WELCOME TO THE SHOW           GRADE: 7,45


66)CAPRICORN (Lees) - 1979
Nice guitar-intro accompanied with John's voice in a beautiful melody.Drums
and
bass fall into a simple rhythm, before the keyboard joins to build up with
beautiful
sound to a massive refrain; before back to the more "laidback" verse.
Totally a wonderful song:
FROM: EYES OF THE UNIVERSE          GRADE: 7,47


67)OUR KID'S KID (Lees) - 1996
Somewhat countryish rhythm at start with John's fuzzy guitar on top.
Cools down to a more accoustic verse with a somewhat Lindisfarne-
feeling with "mandoline". A very "light" song with a nice melody.
Woolly plays the organ "pleasantly"  in the background.
FROM: ENDLESS DREAM            GRADE: 7,48


68)THE POET (Wolstenholme) - 1971
Wonderful orchestration on intro with string-ensemble until Woolys
gentle voice ads in as the ultimate "solo-instrument". This song is
simply a "classical work" without anything else than the BJH-
orchestra's string, the oboe, the flute and Wooly's voice. Beautiful.
FROM: AND OTHER SHORT STORIES       GRADE: 7,50


69)VICTIMS OF CIRCUMSTANCES (Holroyd) - 1984
The song has some very  long "intro" where the rhythm only strikes
on fourth beat in one bar and at one in the next: It loosens a bit in the
refrain. Some nice synth-inputs and "piano-rolling" that moves in and
fades again. Ther verses are too long. The ssynth-solo is beautiful,
especially if you turn up your volume. The whole song is too long
and "suffers" of that 4 + 1 rhythm.
FROM: VICTIMS OF CIRCUMSTANCES           GRADE: 7,52


70)ALONE IN THE NIGHT (Lees)  - 1992
Magnificent keyboard-opening + guitar, and John's voice. More
"alive" than the studio-take. This live-version from Town & Country
Club, London in 92 is powerful as h****, and smashes your head in,
if you use headphones. I sure would have liked to experienced this
one live. The audience creates an even more liveful frame.
FROM: STAND UP-BUTTERFLY            GRADE: 7,55


71)LOOKING FROM THE OUTSIDE (Holroyd) - 1983
"Jumpy" wah wah-synth in start on top of a "shadowish" guitar. A somewhat
awaitin' rhythm on the verse. The refrain is better, and here has Les used
the real bass-guitar; thanks for that. Keeps the song from being all
"plastic".
FROM: RING OF CHANGES               GRADE 7,58


72)TAKING SOME TIME ON (Lees) - 1970
Sharp guitar-opening before the thundering bass, tambourine and stick
bumps in together with heavy drumming. Very much based on guitars.
The rhythm reminds me somewhat of Who's "Magic bus", even this is
far more heavy.
FROM: BARCLAY JAMES HARVEST         GRADE: 7,60


73)KNOYDART (Lees) - 1993
More straight forward song with guitar-solo-intro. The song has a
"mysterious" melody and lyric is about the Scottish highland and a
peninsula called; yes "Knoydart"; a strange name anyway. The melody
itself is nice, but the song isn't too varied. Not much happening in the
arrangement throughout.
FROM: CAUGHT IN THE LIGHT                GRADE: 7,62


74)TEENAGE HEART (Lees)  - 1983
Nice accoustic intro with "do-do vocal" before the synthish "water-bass"
joins. Jolly synth inputs in both speakers all the time. This has also a
sort
of "awaitin'" rhythm that don't take off completely. The song is too, say,
"floating".
FROM: RING OF CHANGES               GRADE: 7,65


75)ALL RIGHT DOWN GET BOOGIE (Lees) - 1979
Fast song with a stressy rhythm, as the name declares, but the
instrumentation is very clear and well arranged. The guitar's really
brilliant and makes this song a "heavy disco-song".
FROM: EYES OF THE UNIVERSE          GRADE: 7,70


76)WELCOME TO THE SHOW (Holroyd) - 1990
Pickin' intro with clinging guitars before the straight rhythm set the
standard. Nice melody on verse. Not really much to say except that
the song is very relaxed and good. Great guitar-solo!!
FROM: WELCOME TO THE SHOW           GRADE: 7,73


77)REBEL WOMAN ( Lees) - 1984
Heavy opening with guitar-riff before a pushy rhythm with a great
 synth-plucking behind moves in. The refrain is no less than
"GRANDE". Straight song but very, very powerful and great.
The organ-sound  in the background fills the sound-picture
completely. The "stormy" interlude can't be better!!
FROM: VICTIMS OF CIRCUMSTANCES           GRADE: 7,75


78)RIVER OF DREAMS (Lees) - 1997
Laidback intro with accoustic guitar and organ, somewhat strange
but it slides directly over to, shall I say, "usual" verse with accoustic
guitar and nice vocal. And then the rhythm; the straight rhythm.
OK song, but not that perfect.
FROM: RIVER OF DREAMS               GRADE: 7,77


79)AFRICAN (Lees) - 1987
Quiet opening with some "african" drums and flutes before John
give the guitar some shock-chords, and the thumping rhythm bumps
in. The guitar-playing on this song is really "compact" some heavy
riffs placed discreet in the background. The keyboard-arrangement
sounds like winds. Would possibly been perfect with a live brass-
band instaed; which John probably would have done recording it today.
FROM: FACE TO FACE                  GRADE: 7,80


80)BROTHER TRUSH (Barclay James Harvest) - 1969
This IS a great song. The single from 69 did deserve a much better destiny
than it
got back then. The quiet verse-intro that slips over into the beautiful
refrain about
the banks of the sunshine is really beautiful. Wooly's organ in the
background
gives the song almost a "sacred" ceremonious  sound.
FROM: Single/EARLY MORNING ONWARDS  GRADE: 7,85


81)AFRICAN (Lees) - 1988
Not that "african" opening as the studio-take, but wow!! It takes off when
the
rhythm-section breaks. The speed is far more pushy than the studio. And
John's
guitar-riffs are even more heavy. Mel treat the electronic drums with great
precission, but I would prefered the accoustic set here.
FROM: GLASNOST                 GRADE: 7,90


82)DO YOU BELIEVE IN DREAMS (Holroyd) - 1997
A somewhat Harrison-ish guitar-intro, continuing with a "beatlish"
vocal-part
(although more "syntish"). Wonderful atmosphere; good sound and great
arrangement, and of course, excellent vocal!!!
FROM: RIVER OF DREAMS               GRADE: 7,95


83)SHE SAID (Lees) - 1974
This live-version is far more noisier than the more perfect studio-
take. I've said it before, but I can repeat: I can't quite accept the
sound on the "Live"-album. The instruments do kill the vocals,
and the vocals have always been the bands finest and most
important "instrument". No this is deffinitively not as good as the
3 year older studio-take.
FROM: LIVE                     GRADE: 7,97


84)JUST A DAY AWAY (Lees)  - 1983
Nice accoustic opening with the usual beautiful melody on top.
This song is very, very nice although it has a bit country-mark.
It can remind me of something by Bellamy Brothers or that style.
The "trumpet" on the refrain gives me an "acapulco-feeling",
 whatever that might be??? (Took the expression out of the air). NICE!
FROM: RING OF CHANGES          GRADE: 8,00


85)LOVE ON THE LINE (Holroyd) - 1988
Fast rocky tune with that powerful synth-opening. The speed is
much higher than on the studio-version, and here the accoustic
piano is playing a major part. The harmony vocal is very beautiful,
but I kinda like the more relaxed studio-version better.
FROM: GLASNOST            GRADE: 8,05


86)BACK TO EARTH (Lees) - 1993
Here we've got Art's favourite with a really spacy keyboard-opening
with cymbals as the only rhythm. A really nice melody from John, but
why should they use the synth-bass here??? It makes the song sound
more "plastic". Would have been far more "back to earth" with Les
on real bass as in the old days.
FROM: CAUGHT IN THE LIGHT           GRADE: 8,07


87)SHADES OF B HILL(Lees) - 1980(90)
Strange tune in somewhat laidback rockballad style. Sounds a bit like
Dave Edmunds. The rhythm box makes the tune funny. Totally
different from everything else by the group. This should deffinitely
been a single-hit in the mid 70's in competition with among others
Alvin Stardust and Mud. Unfortunately the song was released some
5 years too late. A glittering echo guitar-solo. This is really great
folks!!
FROM: Single and  ALONE WE FLY      GRADE: 8,10


88)VANESSA SIMMONS ( Lees) - 1971
This is John'song: An extremely quiet opening with two accoustic
guitars backing John's mild voice. A beautiful song, but I kinda miss
for instance the mellotron in background. This must be considered
as plain ballad. The vocal-part is "goosebumping".
FROM: ONCE AGAIN               GRADE: 8,12


89)SUMMER SOLDIER (Lees) - 1972
"Ponderous" opening with double fuzz-guitar and heavy drums.
Calm's down to atmospheric mellotron-part with phased vocal.
This song is very "dramatic" arranged with big variations. The
lyrics is written inspired of the conflict in Northern Ireland. Mel's
drumming is well worth listening to alone.
FROM: BABY JAMES HARVEST       GRADE: 8,15


90)LOVE ON THE LINE (Holroyd) - 1979
The sharp synth-opening is great before some powerful chords
smashes in. This is a really "funky" song with both rock and disco-
beat. The sound and speed is far more perfect than the live-issue
9 years later. The musikal arrangement is perfect , and balance
between the instruments simply glowes!!
FROM: EYES OF THE UNIVERSE     GRADE: 8,20


91)BLOW ME DOWN (Lees/Pritchard) - 1990
A somewhat psychedelic intro with guitar and synth playing as s sitar.
The tablas in the background makes it even more "eastern".
Mysterious melody from the "strange" combination John and Mel,
a kind of "awaitin'". The synth is playing a vital part on this song. A
heavy interlude makes a good break in the song.
FROM: ALONE WE FLY             GRADE: 8,23


92)URSULA(THE SWANSEA SONG (Barclay James Harvest) - 1971
Beautiful semi-accoustic melody with mellotron playing a major role.
Rhythm only played on tablas and other light cymbales. Therefore
the mellotron-"orchestration" seem even more wonderful. Wooly's
voice makes a perfect job.
FROM: AND OTHER SHORT STORIES  GRADE: 8,25


93)SPIRIT ON THE WATER (Holroyd) - 1977
Slow catchy rhythm from start with another melancholic melody from
Les' pen. The backing arrangement isn't too prominent, and the
beautiful vocal is allowed to dominate the song. The quiet interlude
with guitar and synth is a brilliant break in the song; before back to
the beautiful verse.
FROM: GONE TO EARTH       GRADE: 8,27


94)SUMMER SOLDIER (Lees) - 1974
The song itself is very nice, but I can't quite like the intro as the
mellotron is somewhat too "sharp". But it's great when it tones down
and Woolly stars playing theme from "Jerusalem". But John's verse-
vocal is beautiful. On this song I return to Mel's drumming. He's
simply "rolling" the drums.Just listen!! A very varied song that
changes all the time.
FROM: LIVE                     GRADE: 8,30


95)LADY LOVES (Lees ) - 1971
This is something completely different from all other early songs.
 A slow quiet song where John almost sounds like a relaxed Mark
Bolan?? The floating guitar in the background, and the accoustic
piano creates a sound that's really "wide" with Alan Parsons jaws-
harp "playin'" inbetween them. Very nice, and as I said; very
different.
FROM: ONCE AGAIN               GRADE: 8,32


96)SEE ME SEE YOU (Lees) - 1974
Quiet and melancholy song with a real laidback rhythm. The
mellotron backs the song perfectly, that has a "building" guitar part.
The verse has simply a beautiful melody. The balance between
the instruments is perfect.
FROM:  EVERYBODY'S EVERYBODY ELSE  GRADE: 8,35


97)SIDESHOW (Lees) - 1984
Wonderful intro with semi-accoustic guitar and strings + of course
a beautiful vocal. Suddenly a pushy straight rhythm bumps in, and
some inputs from the synth. And the refrain; glittering melody.
The arrangement of the whole song is perfect.
FROM: VICTIMS OF CIRCUMSTANCES      GRADE: 8,37


98)THE GREAT 1974 MINING DISDASTER (Lees) - 1974
The quiet  piano-opening is great and while John's vocal enters  + the
drums and bass, the balance and sound is perfect(for a change on the
"Live" album). The harmony vocal is glittering! Especially the refrain
with the 3 voices on the top of eachother. This is definitively one of
the best tracks on "Live", both because of itself, and because it has
excellent sound, Maybe that's because it's so relaxed??
FROM: LIVE                              GRADE: 8,40


99)MOONWATER (Wolstenholme) - 1972
This is Wooly's work alone, together with the BJH-orchestra. A
beautiful orchestral work which must be looked upon as a classical
composition. The orchestration is really nice and the mood is "total".
It was originally meant that the three others shoul've added their
part of instruments, but things turned out that the first tapes were
unplayable so Wooly went back in studio finished his masterpiece on
his own.
FROM: BABY JAMES HARVEST                GRADE: 8,43


100)SPERRATUS (Lees) - 1979
Gentle opening with sharp guitars before John ease it all down in
front of a beautiful playing synth that spreads more and more, until
the backing bumps in fully and blow your head off with an incredible
violence; until you fell completely to the ground enjoying the
quietness again. This song has an incredible mood.
FROM: EYES OF THE UNIVERSE              GRADE: 8,45


101)LOVING IS EASY (Lees) - 1982
Much more speedy opening than the studio-version, and therefore
not that "groove"; more "light" to say. But the sound is much better
with some "reverb" on. The organ is not that conspicious, but that's
NOT an advantage. To a change a live-version is poorer than the
studio-take.
FROM: CONCERT FOR THE PEOPLE        GRADE: 8,43


102)THE GREAT 1974 MINING DISASTER (Lees) - 1974
The whole melody is based on BG's song from 67. But Johns
"arrangement" is much more melancholy and relaxed. This is a real
politicaly based song rewritten aiming on the big miner's conflict
back in 74. Beautifully done.
FROM: EVERYBODY'S EVERYBODY ELSE    GRADE: 8,45


103)BACK IN THE GAME (Holroyd) - 1997
Wonderful orchestral opening and the suddenly, rhythmic accoustic
guitar and more guitar+bass. A perfect continuation. The awaitin
melody on verse fits perfect. Ths sound on the song is outstanding.
The vocal itself is glowing!!! Even this one could remind me of
"The Reaper" from BOC.
FROM: RIVER OF DREAMS               GRADE: 8,47


104)SHE SAID (Lees) - 1971
Powerful opening with mellotron and heavy backing; really laidback.
John's playing with his guitar behind his own voice. Builds up to a
gigantic refrain where Mel's drumming is very,very brilliant. And
just play the song again, concentrating on Les' bass-playing. Perfect!!
This song really has a "soul".
FROM: ONCE AGAIN                    GRADE: 8,48


105)AFRICAN NIGHTS (Holroyd) - 1990
Intro with sounds from the "African jungle", moody synth-chords,
before the "vibraphone" takes over with marracas-rhythm and a
floating "waterbass". A special mood lays over this song. An
"awaitin'" rhythm without no drums on the first half. After that Mel
simply "lets himself loose" and makes some brilliant work on the whole set.
FROM: WELCOME TO THE SHOW           GRADE: 8,60


106)LADY MACBETH (Lees) - 1990
A strange string-"piano-intro" together with some "chinese" drums
and cymbals. John sings beautifully and synth is "playing around" the
melody. The second-vocal is ingenious. It takes almost half the song
before the rhythm "bashes" in, and Johns guitar sounds like Mike
Oldfield(compliment).
FROM: WELCOME TO THE SHOW           GRADE: 8,85


107)LOVING IS EASY ( Lees) - 1978
The groovy rhythm pushes in immediately with the "squealing"
synth and heavy organ. The atmosphere on this song is very
special. It intends to be a gloomy, tight and "heavy" melody,
but turns as well out to be a very melodic affair. The sound is a
bit "locked up".
FROM: XII                      GRADE: 8,90


108)LOVING IS EASY (Lees) - 1996
Powerful bassy intro with "squealing" synths and a heavy Deep
Purplish hammond-organ and John's guitar rolling. This single-
version is somewhat sharper than the album-version on "XII"
with some rewritten lyrics to "fit" the BBC. Some nice synth-inputs
sounding like pan-pipes allthrough. Not bad at all.
FROM: ENDLESS DREAM            GRADE: 8,95


109)STREETS OF SAN FRANSISCO (Lees) - 1978
Quiet accoustic intro with mouth organ before the string ensemble
pushes in and backs a melody that's amazing good. The arrangement
on this song is simply excellent!! Never noticed the song before as
this, but this is GOOD!!
FROM: XII                      GRADE: 9,00


110)YESTERDAY'S HEROES (Holroyd) - 1997
Atmospheric intro with the beating guitars and floating synth. Oh,
THAT GROOVE! Heavy, heavy! The double vocal even get the
mood to taker off completely. Awaitin' and grande!! Until .. BANG!!
The straight rhythm gets your feet stompin'!!!
FROM: RIVER OF DREAMS               GRADE: 9,10


111)MEDICINE MAN (Lees) - 1974
In comparision to the orchestral sturio-version the heavy opening
on the "Live"-version is rather "ugly". OK, Woolly's mellotron
creates an excellent mood, but I don't fancy to hear this beautiful
song being torn up like that, made into a kind of violent "heavy-
metal hymn". But in a sense it is charming if you view it as a totally
different song. But far from quality of studio. Credit for Mel's
drumming again.
FROM: LIVE                          GRADE: 9,15


112)TURN THE KEY (Holroyd) - 1987
Juicy intro with heavy bass and "plucky" synth. The melody itself
isn't bad, but I think this song sound a bit "cut-to-pieces". It has
some very nice synth inputs and the vocal-parts reminds me very
much of Yes and Jon Anderson. The interlude with that "lady-voice"
-synth is somewhat brilliant. This could definitively been made by
one of my other big favourites; as said: Yes.
FROM: FACE TO FACE                  GRADE: 9,20


113)MR E (Lees) - 1997
Accoustic guitar on intro sets the standard of a good song
before John enters, and thereafter a real funky syntish rhythm.
Nice synth-harmonies lays behind on refrain. The accoustic
guitar continues in the background throughout, while another
accoustic guitar "plucks" the backing-solo. Ringeling synth-inputs
make the song even more evocative. Real heavy guitar-solo
breaks the quietness of the song perfectly.
FROM: RIVER OF DREAMS          GRADE: 9,25


114)HYMN FOR THE CHILDREN (Lees) - 1975
For the very first time we pick out "Time honoured ghosts" from
the shelf. And guess why? This album is almost perfect. And this
song is no exception. The wonderful guitar-intro that falls into a
laidback rhythm and even later somewhat more "rocky" rhythm,
makes the arrangement excellent. John's vocal-part and a
wonderful melody makes it very close to the truth. Beautiful
lyrics against racism.
FROM: TIME HONOURED GHOSTS     GRADE: 9,30


115)PAPER WINGS (Holroyd/Pritchard) - 1974
This live-version has a bit more tender opening and the sound is
much poorer on the mellotron than on the studio-version. The
effects isn't here either with the "shivering" echo-guitar. The
instruments isn't that good mixed together as on the studio-take.
Well played of course, but .no; the studio-take on Everybody's
everybody else is much better.
FROM: LIVE                     GRADE: 9,35


116)SAY YOU'LL STAY (Holroyd) - 1984
Great synth-intro like "Life is for living". The vocal-inputs on
verse and the octavial vocal on refrain is excellent. The
thumping bass and cymbals make the song building into a glittering
interlude where the drums and a "freezing" synth-solo take the
song to new heights. The interlude with wonderful harmony-vocal
and "string"-arrangement is very "intelligent". Great song!
FROM: VICTIMS OF CIRCUMSTANCES           GRADE: 9,38


117)THE SONG(THEY LOVE TO SING) (Holroyd) - 1979
"Jumpy" keyboard-opening sets the standard right away, and as
Les' voice turns up you may get your goosebumps from first tone.
Bass and the rest joins one by one before a gigantic wall of sound
frames the refrain. MASSIVE!
FROM: EYES OF THE UNIVERSE          GRADE: 9,40


118)GIVING IT UP (Holroyd) - 1978
Incredibly quiet opening that builds up very slowly with accoustic
guitars and "voice"-harmonies. Les has as always created a
beautiful melody that sets the mood. Drums fall in perfect and so
do the electric guitar by John. The guitar-solo on interlude is
clear and wonderful.
FROM: XII                      GRADE: 9,45


119)SWEET JESUS (Holroyd) - 1975
Les' wonderful voice and an accoustic guitar open this beautiful
song before Woolly's nie organ and the rest goes along. The
guitar-solo from John is wonderful. It seems to me that the lyrics is
about a man who's tired of his old life and addresses Jesus to help
him leading him to a better "road".
FROM: TIME HONOURED GHOSTS          GRADE: 9,50


120)NEGATIVE EARTH (Holroyd/Pritchard) - 1974
This live-version has not that good funky intro as the studio-take.
The backing is more powerful and Wolly's using the accoustic piano.
The mellotron-part is of the same quality as the studio. So is Les'
vocal-ppart, but IMO this is a tiny bit less good than the studio-take.
FROM: LIVE                          GRADE: 9,52


121)MAY DAY (Lees) - 1976
Guitar-plucking on intro on top of fuzzy guitar is nice. Can't quite
approve the vocal on verse with that phaser that twist John's voice.
The refrain is far better. In any sense this is a good song, pretty
much based on John's guitar-playing. Woolly's organ fills heavily
out the refrain. Interlude with orchestral synth and heavy break,
is phenomenal and banging! The changing rhythm after that with
Mel rolling on snaredrum is great!! The choir part at the end is
gigantic and raises the song at least 0,5 points alone, after that
somewhat "fumbling" phased start. If this part had been a song of
it's own, it would certainly have been a 10!
FROM: OCTOBERON                     GRADE: 9,55


122)NEGATIVE EARTH (Holroyd/Pritchard) - 1974
A laidback funky intro with el-piano and sharp guitar-ads,
turns perfectly over to a mellotron-based refrain, and
switches back to that funky rhythm. This unique composer-
constellation where Mel was teamed up with Les did really
function. A wonderful guitar-solo by John. This IS a beautiful
song abouth the Apollo 13-trip back in 70, that could have
ended in a tragedy.
FROM: EVERYBODY'S EVERYBODY ELSE   GRADE: 9,58


123)I'VE GOT A FEELING (Holroyd) - 1984
A real nice intro with keyboard-harmonies.The verse is
simply wonderful in best Holroyd-style. The quiet keyboard-
backing is perfect. Harmony vocals from second verse is
beautiful. The "accoustic-guitar"-plucking on keyboard
fits in perfectly. But again I miss the real bass-guitar instead
of the synth-bass.Anyway, overall a beautiful song.
FROM: VICTIMS OF CIRCUMSTANCES           GRADE: 9,60


124)I'VE GOT A FEELING (Holroyd) - 1996
In differ to the album-version, the 7"-version has a beautiful
saxophone solo on the intro, simply put on to the original
arrangement. Very similar to the album-version elsewhere,
except for the saxophone that turns up one more time. The
harmony-vocal is excellent and might give you a few goose-
bumps here and there.
FROM: ENDLESS DREAM           GRADE: 9,63


125)(TOOK ME)SO LONG (Holroyd) - 1997
Quiet intro with Mel riding his tom-toms and Les sings beautifully
on top of the synth-harmonies. And as the accoustic guitar joins
you may get the "freeze" up your spinal nerves. This is a beautiful
melody with somewhat mysterious "awaitinF" rhythm. The guitar-
solo in the middle is wonderful. The octavial dual-song after
about 3 " minutes is ingenious.
FROM: RIVER OF DREAMS               GRADE: 9,68


126)PLAY TO THE WORLD (Holroyd) - 1996
The beautiful intro with strings is ovewhelming. As beautiful as it
can be before the cymbal "counts in" the band. The guitar "sings"
beautifully on the "second" intro. And when Les starts singing the
atmosphere is vtotalv. The echo on the vocal makes it even better.
Melody's really beautiful.
FROM: ENDLESS DREAM            GRADE: 9,70


127)PAPER WINGS (Holroyd/Pritchard) - 1974
Drums roll into heavily mellotron-based intro with John's guitar
on top.The echo on guitar is nice. Les sings a beautiful melody
beside accoustic guitar, mellotron and synth. The mood on this
song is remarkable "touchy". Just listen to the drumming on this
again Mel simply "flys" over his skins, "rollin' and tumblin'".
FROM: EVERYBODY'S EVERYBODY ELSE    GRADE: 9,73


128)MEDICINE MAN (Lees) - 1996
As the "Live"-album version this is a bit too heavy for me
compared to the studio-verson on "Other short stories". But the
sound on this original single-issue is far better than the other
live-take. It sounds even more massive and complete, and that
makes it very listenable after all. I've said it several times before;
just listen to Mel's drumming. A simple
enjoyment(says a bass-player: me).
FROM: ENDLESS DREAM            GRADE: 9,75


129)BERLIN (Holroyd) - 1978
The quiet piano-intro is good. A really slow and laidback song
with a beautiful melody by Les. The guitar-plucking is pleasantly
placed in the background. Glockenspiel creates a very special
atmosphere from the second verse together with the "strings"
that lays behind throughout.
FROM: XII                      GRADE: 9,78


130)WHERE DO WE GO (Holroyd) - 1990
Moody intro with choirish organ/synth and the accoustic guitar
+ Les' vocal, beautifully performed as ever on a melody
melancholy and wonderful. When all instruments are settled
the song goes powerful and heavy along; a bit cut up, but great.
The saxophonesolo is brilliant.
FROM: WELCOME TO THE SHOW           GRADE: 9,80


131)LOVE'S LIKE A VIOLIN (Lees) - 1977
Starts quietly with only guitar until John's voice and some very
gentle strings joins. The melody on verse is wonderul, and the
oboe between the two verses vreates a wonderful mood. Builds
up perfectly against the more upspeed refrain that breaks
completely and perfectly before it returns to the quietness
of the oboe and strings.
FROM: GONE TO EARTH            GRADE: 9,83


132)HOW DO YOU FEEL NOW? (Lees) - 1981
Nice acccoustic piano-intro with chimes ringling behind,
when John's vocal joins the piano on first verse. The "cello-synth"
on second verse is beautifully placed on top. The refrain with
even more cello-strings added is beautiful, and when the
saxophone joins you can get goosebumps all over. Reminds
me of Andy MacKay of Roxy Music. Magnificent!! The synth-
harmonies after the solo gives me even more "bumps"!!
FROM: TURN OF THE TIDE              GRADE: 9,85


133)RA (Wolstenholme) - 1976
The synth-intro is gigantic. Here Woolly opens all "locks", until
John and Les smashes in by full force. This is symphonic and
from my opinion this must be where Woolly wanted to og late
70's as he departed. His beautiful vocal in front of the wonderful
organ is perfect. The melody itself is not that memorable as you
can hardly remember it after having listened, but the
arrangement is perfect. John's guitar-solo is brilliant.
FROM: OCTOBERON                     GRADE: 9,87


134)AFTER THE DAY (Lees) - 1974
The intro on this is far too "muddy". Well played, but as I've
said several times before, it's the sound and the mixing that
are not perfect here. Only the silent vocal-part is good, but
it seems to me that John sings without the right feeling here.
The song itself is beautiful, but the mellotron is too prominent
to a change and makes the song a bit "cold".
FROM: LIVE                     GRADE: 9,90


135)MOTHER DEAR (Barclay James Harvest) - 1970
OH!! The quiet string-intro with the accoustic guitar is simply
beautiful together with John's voice. The mood in the song is
great. It could have been made by one of the great accoustic
groups from the early 70's, Magna Carta. I can't help it, but I
simply love live strings on records. By the way; this is one
of the first songs John wrote.
FROM: BARCLAY JAMES HARVEST    GRADE: 9,95


136)FOR YOUR LOVE (Lees) - 1984
Incredibly quiet opening with vocal and occasional piano
before the ladies join John with harmonies and afterwards
some powerful chords chock you. A beautiful song with a
quite simple arrangement that really emphasizes John's
voice. The guitar-solo on interlude is perfect before an
awful lot of strings take over completely; before they all
join forces; John, the ladies, the piano, the strings and the band.
FROM: VICTIMS OF CIRCUMSTANCES      GRADE: 10,00


137)MAESTOSO (Wolstenholme) - 1996
Magnificent intro reminding me of some movie-theme with
thundering drums and clinging synth. Calms down to the
beautiful vocal-part. As usual Woolly's melody is a bit "difficult"
to obtain and not going straight to your memory, but they are so
symphonic that they can't hardly be better. The quiet accoustic
piano interlude is beautiful with the strings behind, and John's
fuzzy guitar simply "sings". The song has a name that fits
perfectly. IT IS "Maestoso", a musikal expression that means
"powerful and heavy".
FROM: ENDLESS DREAM       GRADE: 10,05


138)THE SUN WILL NEVER SHINE (B.J.H.) - 1970
Another real quiet song with good basswork from Les at the
beginning. The refrain is wonderful with a beautiful melody
and John's traditional early fuzz-guitar, building up to a
climax and falls back to the quiet verse. This is Woolly's
song, and it's one of his very best.
FROM: BARCLAY JAMES HARVEST    GRADE: 10,10




139)HE SAID LOVE (Lees) - 1987
The fanfare-synth intro is gigantic with the accoustic guitar.
A bit standard upbuilding with beautiful vocal-melody upon
accoustic guitars. Could be like "Hymn" or "Nova L", but
refrain is pretty compact and rides a heavy wave with that
synthi bass and drums. The grove is pretty high here.
FROM: FACE TO FACE             GRADE: 10,13


140)COLD WAR (Holroyd) - 1993
Increasing spacy pluckin' on keyboard at intro on top of the
chords. Then Les falls in with a beautiful and touchy melody.
So comes the rolling basss in the background before it
thunders in by full force. It's powerfull as hell and on this song
 the synthbass suits very well.Quiet down in the middle to build
up once again, and hereFs some wonderful pickin' on accoustic
guitar. The song is a bit as I call "awaitin'", but as I said, quite
powerful. And melody is beautiful.
FROM: CAUGHT IN THE LIGHT           GRADE: 10,15


141)BERLIN (Holroyd) - 1988
Distrorted clock-intro creates a "doomy" mood, before the
piano and cymbals creates the more quiet melancholy mood.
The piano plays a very important part on this version that is
quite better than the "XII"-issue 10 years earlier. The
whistling from the audience on quiet parts doesn't hurt at all.
FROM: GLASNOST            GRADE: 10,17


142)PARAISO DOS CAVALOS (Lees) - 1983
Extremely beautiful intro with the oboe,harp, belltree and
accoustic guitar, as John's vocal joins together with the
12-string guitar and some thunderstrokes by th etimpany.
The orchestra in the background makes a perfect sound
and oh so liveful, not using the usual synths. Grande,
Grandissimo!!!! Actually I've never noticed the beauty of
this song until now!!!
FROM: RING OF CHANGES          GRADE: 10,20


143)NOVA LEPIDOPTERA (Lees) - 1982
Intro quiet like the original studio with the outer-space blips,
beeps and bubbling, before that shock-chord that wakes you
from your eternal sleep, breaks through. I could have wished
John's voice a bit more in front compared to the piano. It drowns
a bit. The piano is too loud also compared to the rest of the
keyboards. Interlude with guitar-solo is perfect. Just a tiny
bit behind the studio-version.
FROM: CONCERT FOR THE PEOPLE   GRADE: 10,25


144)THE CLOSED SHOP (Lees) - 1978
Starts with marching drums and "flutes" as from the Scottish
highlands, before they ad the accordion-like synth which g
ives me a somewhat "french" feeling. The song reminds me a
bit of Nazareths "Glencoe massacre" from Exercises back in 71.
Nice harmony-vocal throughout. Oh how I love that "marching"
part. Powerful interlude with synth-solo.
FROM: XII                 GRADE: 10,27


145)NOVA LEPIDOPTERA (Lees) - 1978
Starting with signals from outer space while riding through
the nebula Nova Lepidoptera, before that huge chord brings
us to that slow pleasant rhythm with piano and John singing a
beautiful melody. The "string"-synth is discreetly placed
behind and bass+drums are where they should be. As usual
Mel is "playin'", and I mean playing  his drums as they were
a kind of keyboard, not only beating them. Double guitar-solo
on interlude is powerful.
FROM: XII                 GRADE: 10,30


146)BERLIN (Holroyd) - 1982
Clock-intro not that liveful as the "Glasnost"-issue from 88,
and this version is a bit slower, but may have more soul and
nerve as Les puts more spirit and passion into the vocal.
Piano more hidden behind strings and rhythm moreover.
Even if the Glasnost-issue is great, this is even better.
FROM: CONCERT FOR THE PEOPLE   GRADE: 10,35


147)LIFE IS FOR LIVING (Holroyd) - 1996
Same powerful rocky intro as the original on "Turn of the tide",
but more "staccatto" and you can simply hear that this mix isn't
that copious as that one. This single-mix was the original take,
and the album-mix was improved. But all in all not that big
difference.
FROM: ENDLESS DREAM       GRADE: 10,40


148)SEA OF TRANQUILITY (Wolstenholme) - 1977
Woolly's only contribution to "Gone to earth" opens with his
own organ and strings. Very,very quiet and as usual he sings
with passion. It's so fragile!!! Suddenly builds up with
thundering bass and drums, and the wonderful strings filling
up the complete sound-picture perfectly. Massive and
glittering the whole song from one end to another.
FROM: GONE TO EARTH       GRADE: 10,43


149)MEDICINE MAN (Lees) - 1971
The orchestral intro is perfectly beautiful and as John ads his
accoustic guitar and his voice, it really builds up. Wonderful
effects with a rattle rolls from one speaker to another.I simply
adore the orchestral arrangement. It makes the song
incredibly mighty with the horns and violins. It makes me
freeze deep down my spinal nerves.
FROM: ONCE AGAIN               GRADE: 10,45


150)IF LOVE IS KING (Lees) - 1990
Juicy guitar-intro with heavy bass and "plucky" synth + thundering
drums. Wow, this IS groovy!! The melancholy melody does fit
perfectly in along with that complete groove. And the guitar-sound
that's answering the vocal and plays the solo is glittering! The choir-
synth that's placed in the background fills the sound to the rim.
Heavy, heavy!!!
FROM: WELCOME TO THE SHOW      GRADE: 10,50


151)THE GREAT UNKNOWN (Holroyd) - 1993
Closed keyboard-chords with chimes and cymbal with brushes at
intro, when Mel sing as beautiful as usual on first verses. The enters
a rolling synthbass. A very quiet song until it sets in after about
2 minutes of playing. The wonderful backing with ringling  synths
and echo-song in front, is great.
FROM: CAUGHT IN THE LIGHT           GRADE; 10,53


152)HARD HEARTED WOMAN (Holroyd) - 1977
Somewhat split-up guitar-intro, but as the verse set in, the picture
is complete. A wonderful melody with that oooh so fragile vocal by
Les abd his bass playin' somewhat funky in the background.
Crystal clear percussion-parts from Mel and Woolly's organ is as
usual very important. The interlude is as well spilt up as the intro,
and guitar-solo is a bit "blunt".
FROM: GONE TO EARTH            GRADE: 10,55


153)GUITAR BLUES (Lees) - 1987
Nice accoustic opening with string-synth andsmall "blipping"
rhythm on synth. But it builds up with more juicy chords before
guitar, bass and drums simply crash in. The guitar-solo goes
straight to your heart. The melody is maybe a bit hard to
memorize by first time of listening, but my oh my how
wonderful it is, besides that the arrangement is incredibly
heavenly.
FROM: FACE TO FACE             GRADE: 10,57


154)WHEN THE WORLD IS WOKEN (B.J.H) - 1970
Incredibly nice opening with a working bass, a Procol Harum-
like Hammond-organ, and the orchestra discreetly placed
behind. This is actually Les' song and his vocal is perfect and
the sound on the song is so beautiful!! The trumpets and strings
does it irresistible. It bewitches you completely. The song is so
symphonic and the balance between the band and orchestra
is brilliant!
FROM: BARCLAY JAMES HARVEST    GRADE: 10,60


155)ON THE WINGS OF LOVE (Holroyd) - 1988
Nice intro with synth and cymbals + piano. Very,very good
melody building up beside those instruments. As I only have
the vinyl-issue of "Face to face" I cannot compare with the
studio-version, but why in h..... wasn't this one on the 12"
album??????Mystery!! Cause this gets upon most of the other
songs on that album. In any way; this version does. Great
string-synths althrough + excellent guitar-solo.
FROM: GLASNOST            GRADE: 10,62


156)LIFE IS FOR LIVING (Holroyd) - 1981
I love that rocky opening with drums and echo-synth + Les
singing a melody that goes straight to your heart. And the
arrangement gets more and more copious all the time. And the
lyrics: It's as true as it can be "Life is for living and living is free".
The ringling interlude is a beautiful break of it all.
FROM: TURN OF THE TIDE         GRADE: 10,65


157)THE WORLD GOES ON (Holroyd) - 1976
Accoustic intro with guitar-chords and Les' voice alone. Strings
join in second verse. The refrain is beautiful with the strings
that really takes off in the background. As the band rolls in the
song becomes perfect. Suddenly they break in and the rhythm
and arrangement if perfect. John's guitar solo makes me freeze
deep down inside. And they all og together; bass, drums, piano,
voice, orchestra; everybody"hand-in-hand" joint against the
light at the end of the dark tunnel,; where the "world goes on".
Heavenly played!!!
FROM: OCTOBERON                GRADE: 10,68


158)IN MY LIFE (Lees) - 1975
Frisky guitar-intro on funky background, where Les rolls the
bass. The verse is very melancholy with the Hammond laying
constantly and monotone in the background. Very nice melody
and a song with a certain "soul". The interlude is so quiet and
nice and so fragile with the "choir" in the background. Great!!
Building slowly up against the funky verse-rhythm.
FROM: TIME HONOURED GHOSTS     GRADE: 10,70


159)MEDICINE MAN (Lees) - 1988
Introduction this version is gigantic. The synth-intro is far better
than the old, plain guitar-intro. This creates a mystified atmos-
phere which is so heavy, so heavy, and so symphonic. Wow!!
This is powerful!!! The definitively best version of Medicine
man the boys made. Guitar-solo is so perfect played, and
Mel's "drum-rolling" makes thunder in hell sounds like peas
falling down on a kitchen-table.
FROM: GLASNOST            GRADE: 10,75


160)SONG FOR YOU (Holroyd) - 1975
Powerful guitar-chords on intro as organis rolling in, with
cymbals and bass are "jingling" along. Then it all rolls in with an
incredibly beautiful violence. It's a kind of upbuilding, while
Les sings the verses with only hard striking chords and rolling
drums thundering in the background. To a change this is no
melancholy from Les, until!!yes!..it had to come!..the beautiful
interlude with the accoustic piano and the string-synths in the
background. Oooh, what a break!! Wonderful!!
FROM: TIME HONOURED GHOSTS     GRADE: 10,80


161)GALADRIEL (Lees) - 1971
Nice fingerplaying on guitar on intro with mellotron pleasantly
in background. The melody is wonderful and the orchestra plays
a vital part. The song is so perfect that it makes goosebumps all
over you. The song is played on John Lennon's guitar that he
used on the Abbey Road roof playing Let it be(so says the notes).
The title is brought out from Tolkien's "Lord of the rings".
What more can you say than: Brilliant!!
FROM: ONCE AGAIN               GRADE: 10,85


162)DARK NOW MY SKY (Barclay James Harvest) - 1970
A mystic intro with monotone timpani and strings. This is actually
John's classical masterpiece. The orchestral arrangement builds
up perfectly against the bands sudden entry. John's fuzzy guitar-
solo upon Woolly's grand piano is heavenly listening to.
Les' heavy bass rolls down under together with Mel's drum-rolling.
Beautiful!!!! For those who loves classical music(as me) this IS a
masterpiece. As Keith says, the song was based on a book called
the "Silent spring" by Rachel Carson.
FROM: BARCLAY JAMES HARVEST    GRADE: 10,90


163)FOR NO ONE (Lees) - 1974
As with most of the material on "Live" , I think the guitar is too
"muddy", so is the intro here. The mellotron is though perfect.
The guitar is too heavy on it's chords and John's voice drowns
in the wall of sound, and is lacking treble. The song itself is
beautiful, but this live-version is fading in comparision to the
studio-version.
FROM: LIVE                     GRADE: 10,95


164)AFTER THE DAY (Lees) - 1972
Powerful intro sliding over directly from "The poet". Mel uses
the timpani rolling heavily before the "oboe" plays a wonderful
melody taken over by John singing an even more beautiful
melody. The singing guitars is discreetely placed in background.
As usual back in the "older days" the fuzzy guitar plays a vital
part. The atmosphere on the song is great varied from the
quietness to the dramatic instrumental part with heavy riffs and
"heavy" harmonies on keyboard.
FROM: AND OTHER SHORT STORIES  GRADE: 10,97


165)LIFE IS FOR LIVING (Holroyd) - 1982
A much more "sonorous" intro with real live sound, and more
speed. But not those upbuilding sounds as the studio-take from
the album. But as the band rolls in it's real powerful. And synths
are really beautiful played. And once again; Mel you are doing
a wonderful job on kettles!! Brilliant!!
FROM: CONCERT FOR THE PEOPLE   GRADE: 11,00


166)HARD HEARTED WOMAN (Holroyd) - 1978
Rocky intro with guitar and organ hand-in-hand. A bit heavy
although the melody on verse is beautiful. The refrain is
extremely nice with that harmony-vocal and "answering" organ.
The whole song is somewhat funky. Great guitar solo.
FROM: LIVE TAPES               GRADE: 11,02


167)BACK TO THE WALL (Holroyd) -  1981
Atmospheric, funky intro with synth-inputs that's completely
perfect. The bass + drums just walks away with the funky piano
making the rhythm. A beautiful melody sung real pleasantly
laidback by Les and a wonderful harmony-vocal on refrain.
The synth-solo in interlude is "goosebumping" and extremely
good. A locked up sound that fits the song very well.
FROM: TURN OF THE TIDE         GRADE: 11,05
168)IN SEARCH OF ENGLAND (Wolstenholme) - 1978
Beautiful synth-intro moving into the piano-part with "strings"
behind. Woolly sings beautifully on top. And then comes it all;
in best Woolly-tradition. Symphonic as h....!!! As usual a melody
that not bangs into your memory right away, from Woolly, but if
you like classical music, youre bound to love Woollys songs as
well. This is so pompous and huge!!!
FROM: XII                 GRADE: 11,08

169)HALFWAY TO FREEDOM (Holroyd) -1990
Wonderful intro as ever from Les with echo-voice and guitar.
When the rhythm bumps in with thundering forces with a synth-
bass roaring in the background and heavy drums from Mel, it
really takes off. I love the complete sound of this song. Its
like thunder through the speakers.
FROM: WELCOME TO THE SHOW      GRADE: 11,10

170)PLAY TO THE WORLD (Holroyd) - 1979
Great classical synth-opening which goes straight to your spinal
nerve system, sliding over to that striking piano with the bit
"closed" guitar-solo on top, and the phased synth behind. A
long, but oh so well done intro. Les echo-vocal is simply brilliant.
The sound on this song is glittering. Just listen to it loud in
earphones. Could be taken out of "Live tapes"!! Orchestration
is wonderful!! Thundering saxophone-solo at end.
FROM: EYES OF THE UNIVERSE     GRADE: 11,12

171)THREE WEEKS TO DESPAIR (Lees)  1997
Very gentle laidback intro with wah-wah guitar and nice chords. The
water-bass fits perfectly behind Johns beautiful singing, a bit
hoarse and phased. This song is as created for tight dancing with
the one you love. Les vocal-inputs behind is goosebumping. A very
hidden saxophone-solo behind the talkin voices on the interlude. Funny!
FROM: RIVER OF DREAMS                   GRADE: 11,15

172)LIFE IS FOR LIVING (Holroyd)  1992
The song is as created to be played live, with that intro. It simply
invites people to join and clap and stomp feets, along with the
bassdrum, cynmbals and singing synth. I would certainly have been at
that gig, cause this is GREAT, and Les is really doing a glittering
vocal-job. Definitively the best ever version of the song. Powerful
and brilliant!!
FROM: STAND UP BUTTERFLY                GRADE: 11,18

173)ECHOES AND SHADOWS (Holroyd)  1981
Spooky piano-rolling on intro until string-chords joins, filling out
beautifully. The vocal-intro with synths is wonderful, upbuilding.
Glittering melody based very much on synths. The refrain is
outstanding and beautiful, with Les being answered by the
synth-chords. Melancholy song as usual, and I ADORE THEM!!!
FROM: TURN OF THE TIDE                  GRADE: 11,20

174)MOCKINGBIRD (Barclay James Harvest)  1974
The intro is great here, and is not affected of the overall bad sound
on this album. Somehow Johns voice isnt that good. Looks like hes
about to cough anytime(?). As usual Woollys mellotron is perfect and
Les bassplayin is quiet anc nice and rollin. Mels cymbalwork is
magnificent!!
FROM: LIVE                              GRADE: 11,22

175)ROCK AND ROLL STAR (Holroyd)  1976
Sneakin intro with walkin bass and keyboards until the
disco-guitar joins. An incrdibly brilliant song, and the closest BJH
got to the mid-70s disco-wave, singing about the boy filled with
dreams and hopes to be a big rock star. Why didnt they release this
as a single?? It would for sure been a Top10 hit. The nice vocals
touches your heart deep down inside. And the guitar-solo reminds me
pretty much of Eagles One of these nights
FROM: OCTOBERON                         GRADE: 11,25

176)THE TIME OF OUR LIVES (Holroyd)  1997
Synth on intro catches your attention immediately, to wake up before
Les starts singing his usual beautiful melancholy way. An incredibly
moody intro before the accoustic guitar sets the speed and the
standard for the rest of the song. As the rest bursts in, you have
really good feeling being relaxed. The rest is pure enjoyment. The
guitar-solo is as sent from heaven. WOW, that sound!! Without doubt
the best song on ROD and a perfect conclussion of the album.
FROM: RIVER OF DREAMS                   GRADE: 11,27

177)BEYOND THE GRAVE (Wolstenholme)  1975
A dramatic day of judgement-intro with rolling drums and
bass/guitar-ascent, and the symphonic keyboards, before the verse
enters beautifully with Woolly singing in front of the wonderful
hammond-organ, choir and string-synths. Beautiful and dramatic, and
symphonic as always while Woolly was songwriting.
FROM: TIME HONOURED GHOSTS              GRADE: 11,30

178)CHILD OF THE UNIVERSE (Lees)  1996
A tame synth at the beginning, and this take is of much poorer
qualitey than the original on Everybodys everybody else. The song
itself is one of the finest ever made, but ths sound on this take is
too closed. The bass is maybe too prominent, but Les does a
brilliant play here. The choir-synth on refrain i swonderful. Nice
difference from the original take, the instrumental part with enormous
gravity and weight.
FROM: ENDLESS DREAM                     GRADE: 11,32

179)ITS A MATTER OF TIME (Holroyd) 1993
Slow rocky intro with nice guitar-solo high up in the air. And as
usual, to say, here comes Les wonderful melancholy melody. Even that
fact; its a powerful song with juicy chords and drums behind the
beautiful melody. The middle part with that staccatto guitar wandering
straight over to the heavy guitar-solo and further to the synth is as
plucked from heavens harps.
FROM: CAUGHT IN THE LIGHT               GRADE: 11,35

180)WHO DO WE THINK WE ARE (Holroyd)  1993
A kind of heavy intro with symphonic strings playin around bass and
guitar-pluking. The melody is somewhat plaintive melancholy and a
bit awaitin. The refrain is stunning with that wonderful vocal. The
forever wandering guitar never rests.A perfect opening-track of a
great album!
FROM: CAUGHT IN THE LIGHT               GRADE: 11,38

181)MOCKINGBIRD (Barclay James Harvest)  1982
To a change the intro is done on piano instead of guitar, as in the
older days. Its a kind of neat. The rhythm is a bit too upspeed and
the singing isnt that pasionate. But were dealing with a modern
version and I guess it should sound like this in 82. I do prefer the
original and the 78-version, and I do miss the guitar!!! Anyway, great
synth-playing.
FROM: CONCERT FOR THE PEOPLE            GRADE: 11,40

182)RING OF CHANGES (Holroyd)  1983
Title song of the album starts with nice space-synths and some plucky
bass-playing, before Les start singing this beautiful upbuilding
melody with the continuation of the space-synths in background, moving
from speaker to speaker. The octavial vocal with inputs from ladies is
very,very,very nice. The song is definitively number one of the album
with same neme. Gets more and more powerful as the refrain rolls on
with great effects.
FROM: RING OF CHANGES                   GRADE: 11,43

183)RING OF CHANGES (Holroyd)  1996
This single-mix is much more compact and heavy with bangin synth
drums and not that floating synths. More funky, to say. And not so
floating vocal by Les. But I believe this was better for a single. The
arrangement is not that SAKRAL as the album-mix, but, my oh my, this
do crash your ears if you turn up your amplifier. Great vocal-mix on
interlude-verse. In its way, one tiny grade better than the original.
FROM: ENDLESS DREAM                     GRADE: 11,45

184)FOR NO ONE (Lees)  1974
The mellotron-intro with Johns guitar on top is wonderful on this
glittering song. The melody is beautiful and John lays all his soul
into it and makes us a few goosebumps here and there. The laidback
rhythm is perfect and imagine holding your dear one tight and danceing
in the late hours with only candles making the light,hm.........!
FROM: EVERYBODYS EVERYBODY ELSE GRADE: 11,47

185)KIEV (Holroyd)  1988
Wonderful intro with the straight rhythm and the balalaika. The sound
on this live-version is even better than Face to Face-issue. But there
is something missing here compared to that one. I cannot put my finger
on what it is, but maybe the total arrangement is not that good. But
what do I say??? I compare with the almost perfect, and thats not
fair, cause this is great too!!
FROM: GLASNOST                          GRADE: 11,50

186)CHILD OF THE UNIVERSE (Lees)  1982
This live-version isnt as good as on the Live Tapes. First the
sound isnt that brilliant, and it seems to me that John doesnt  get
into the spirit of the song that he used to do earlier. And its easy
to see how the band misses Woolly here. The keyboard-parts are tame in
comparission. The refrain is glittering, but totally there is
something missing here.
FROM: CONCERT FOR THE PEOPLE            GRADE: 11,52

187)ONE NIGHT (Lees)  1975
This song is so quiet and beautiful with that relaxed rhythm and organ
backinf the beautiful melody. And the lyrics is so true!! Everybody
do need somebody to love and care about. Cant be said clearer.The
song itself is quite simple, but it has a soul that cant hardly be
competed. Wonderful guitar-playing on solo-verse.
FROM: TIME HONOURED GHOSTS              GRADE: 11,55

188)ONE NIGHT (Lees)  1978
More speedy this live-issue, but that doesnt hurt at all. The
beautiful organs still the same and  Johns guitar-playing is even
better than on THG. I must draw comparissions to Matthew Fischer and
early Procol Harum as regards the organ . Incredible sound! The
harmony vocal that lays behind makes a perfect frame of it all.
Because of the sound rating a tiny bit better than the studio-version.
FROM: LIVE TAPES                        GRADE: 11,58

189)JOHN LENNONS GUITAR (Lees)  1990
Heavenly string-intro sounding like a symphony-orchestra tuning their
instruments before piano and John take over. Lyric is special itself
about how John got to play Big-Johns guitar. Wonderful
harmony-voices. And Claire; heres to you: Johns singing I remember
it well, so did you..the first time.(well guess that everybody
else wonders what Claire remembered so well..shall we tell them
Claire?LOL Maybe tomorrow?). Well back to the song; the symphonic
inputs are definitively inspired by late Beatles, and its great;
perfectly great; on a great song.
FROM: WELCOME TO THE SHOW               GRADE: 11,60

190)SILVER WINGS (Holroyd)  1993
Another beautiful opening with piano and wonderful vocal-melody. And
Les does just what he would do; this IS as beautiful as ever and
couldve been made back in those melancholy 70s. This love song is
really well written, and is about a broken relationship.
Teardrippin??? Yes; definitively!!
FROM: CAUGHT IN THE LIGHT               GRADE: 11,62

191)GALADRIEL ( Lees)  1974
Here we have a perfect one(for a change) from Live. The song itself
if beautiful, but here the sound is wonderful with balance between
Johns voice and the instruments behind, being perfect. Even if we
have band instruments instead of real orchestra, the arrangement fits
perfectly.
FROM: LIVE                              GRADE: 11,65

192)CHILD OF THE UNIVERSE (Lees)  1974
The original starts with the jingling accoustic piano; loud and clear.
The instrumentation is glittering and Johns vocal is perfect. The
refrain have some
stormy inputs which gets it take off. Ive actually never noticed
until now how great part Woollys piano has in this masterpiece. So
has his synths. This studio-version is gigantic and powerful. Wow!!!It
takes off completely!!
FROM: EVERYBODYS EVERYBODY ELSE GRADE: 11,68

193)SUICIDE? (Lees)  1976
Wonderful guitar-intro with strings perfectly placed behind. The verse
with two accoustic guitars, piano and voice is marvelous. Just listen
to the song carefully, and youll find a lot of effects and inputs
hidden, especially the guitar that rolls up and down in the right
channel. The lyrics is also a piece of art itself.
FROM: OCTOBERON                         GRADE: 11,70

194)FOR NO ONE (Lees)  1978
Heres live  and live it is from the very first tone. Incredibly much
better than the 4 years older live-take from Live. The sound here is
as Ive been stating several times before perfect, and the balance
between the instruments and the voice is perfect!! The guitar is much
more clear here, even being as heavy as it has to be.
FROM: LIVE TAPES                        GRADE: 11,72

195)MOCKINGBIRD (Barclay James Harvest)  1978
4 years had a lot to say back in the 70s both as regards the sound
and perfection. Ive said it before and the sound on Live tapes
was/is perfect. Johns singing here is maybe too withdrawn and
pleasant? The instrumentation is perfect!! How many times I wish I was
on that concert; cant be counted. Of course its hard to compete the
orchestral original version on
Once again, but.its very,very close!!
FROM: LIVE TAPES                        GRADE: 11,75

196)TAKING ME HIGHER (Holroyd)  1977
Quiet beautiful intro with accoustic piano and Les voice., when bass
suddenly crashes in with powerful heaviness. The melody is extremely
beautiful with magnificent vocal-parts and an almost sacred mood. A
love song that could pretty much been the second last song in a gig
going straight over to for instance
Poor mans moody blues to fulfill the romance. Wonderful!!
FROM: GONE TO EARTH                     GRADE: 11,78

197)HYMN (Lees)  1988
One of the finest songs ever made is always glittering no matter what
version youre listening to, and this 88s is noexception, although
its not so fantasitic as the one on Live tapes, which is extreme.
As all later livetakes, they're not sung with the same passion as back
in the older days. But what can possibly be a better way to conclude a
concert than with this??
FROM: GLASNOST                          GRADE: 11,80

198)JOHN LENNONS GUITAR (Lees)  1996
Heres the live-version from Town & County Club, from 92, and the
synth-intro here is perfect! And that vocal John perform!!! Stunning!!
And the second by Les!! Same! My oh my, those boys must have been in
perfect shape and mood at that memorable gig. Wish I was there: Any of
you out there who were?? The song itself is very,very special, both by
lyrics and by atmosphere.
FROM: ENDLESS DREAM                     GRADE: 11,83

199))ROCK AND ROLL STAR (Holroyd)  1978
The intro on this song is as atmospheric as heaven itself with that
holdback keyboards and funky/heavy guitar, before the disco-rhythm
takes over, sounding ten times sharper than Eagles. The power of this
song is incredible. Even being a laidback song, it strikes you as hell
in your midriff with its beauty and vitality, and not at least
crystal-clear sound.
FROM: LIVE TAPES                        GRADE: 11,85

200)MOCKINGBIRD (Barclay James  Harvest)  1971
One of the greatest songs ever made. The upbuilding intro with Johns
quiet guitar and Les bass making the only background, cant hardly be
any better. The song is building up all the time to culiminate with
the gigantic final with rolling drums and squealing guitars, to
craasah down to the quietness like in the opening. But inbetween the
orchestra and Mels input on rhythm-instruments as rattle, tambourine
+ + has been making a perfect frame on a perfect song. Those who
doesnt like this one cant exist!! I remember hearing this at the end
of the first concert in Oslo back in 73. Made my hair rasing against
the roof. The song was originally written by John in 68 when he met
his future wife Olwen.
FROM: ONCE AGAIN                        GRADE: 11,88

201)ONCE MORE (Lees)  1993
Mockingbird part 2 is a wonderful piece of music. Of course not that
perfect as the original, but not far from it, cause the melody is very
nice. The synth-sound is extremely nice sounding like gigantic
pan-pipes blowing, and the harmony-vocal is perfect. Its something
melancholy sad over this melody that gets a hold of you completely.
And the guitar at the end reminds you really of Mockingbird. Wait a
second!! This IS better than the original!! A tiny,tiny bit.
Freezing!!
FROM: CAUGHT IN THE LIGHT               GRADE: 11,90

202)POOR MANS MOODY BLUES (Lees)  1988
A bit unorthodox opening with powerful synths over to the significant
bass, a bit cut-up and staccatto. And not that good sound on vocal
as on Live tapes. But a beautiful melody cant be destroyed. And
heres some wonderful strings behind , that makes the song even more
beautiful together with the piano.
FROM: GLASNOST                          GRADE: 11,92

203)KIEV (Holroyd)  1987
The balalaika-intro is beautiful, and as the vocal sets in, youre
simply knocked out by the beauty of this song. Heavy straight rhythm
with synth-inputs is simple, but very,very suitable, not killing the
beautiful melody. The solo-interlude do continue the beauty. Credit to
glittering piano-play.
FROM:  FACE TO FACE                     GRADE: 11,95

207)SUICIDE? (Lees)  1978
Wow, so crystal clear intro with John handling his guitar as if it was
a woman, nice and gentle, caring. Woollys string-synth is beautiful,
and Les pluckin on the bass is very,very light and perfect. The last
part of the song is pretty vital and a bit heavier, but still
very,very gentle.
FROM: LIVE TAPES                        GRADE: 11,98

208)TITLES (arr.Lees)  1975
BJH goes Beatles, and that in a way that mr Lennon up there would be
proud of. The first time I ever heard this song the hairs simply
raised on my head. John have by this made an incredibly intelligent
collection of  stanzas from the Fab Four(my favs no 1; BJH is no 2)I
think this sounds like it came from heaven, so its a good question of
a thought if not John (Lennon) is sitting up there singing this for
akk the other stars who aint with us anymore. Simply wonderful, the
sound, the instrumentation, the arrangement; the whole song!!!
FROM: TIME HONOURED GHOSTS              GRADE: 12,00

209)IN MEMORY OF THE MARTYRS (Lees)  1981
That tardy synth-solo on intro is as atmospheric as it can be with
those harpsichord-chords onside. And so the accoustic guitar with
wonderful vocal and a rolling synth behind. This song should be the
final song in  a gig with people standing up with litten lighters in
the air. The whole song is building up all the time and is very,very
beautiful. And the final is as powerful as hell
FROM: TURN OF THE TIDE                  GRADE: 12,02

210)HYMN (Lees) - 1982
Imagine this song in front of 250.000 Germans!! Freezing!! The
opening is as good as both studio and "Live tapes"-version.
But when everything fall in you can clearly hear that the sound
on this album is far from the "Live tapes"-sound. Anyhow I got
goosebumps all over every time I hear this song. Although I
dont like that "Yeah!"-howling, it goes straight to your nerve-
system as the huge crowd answers. Imagine that "ocean" of
people with their lit lighters up in the air. Enormous!!!
FROM: CONCERT FOR THE PEOPLE   GRADE: 12,05

211)JONATHAN (Holroyd) - 1974
Wonderful quiet opening with only the accoustic guitar and
Les voice, and Woollys extremely pleasant mellotron and
keyboards fills out, until bass and drums join, in a very gentle
rhythm which easily would be perfect dancing to late, late night.
The interlude with the phased echo-vocal and keyboard-pluckin
and bass-inputs is incredibly beautiful. This song is simply
almost perfect!!
FROM: TIME HONOURED GHOSTS     GRADE: 12,08

212)TAKING ME HIGHER (Holroyd) - 1978
Ooooh, so complete moody. Gentle vocal-intro with piano
+ bass and strings thereafter. This is fragile until John ads his
sharp guitar-plucking. And as he sets in his solo I got so relaxed
listening to it. And when they ad the rhythm agaist the end its
all perfect..
FROM: LIVE TAPES               GRADE: 12,10

213)FOREVER YESTERDAY (Lees) - 1993
Beautiful song, beautiful sound, beautiful performance.The only
thing that differs from the "original" later put on "Endless dream"
(see below) is the guitar-solo part at the end. (For everything else;
see below.)
FROM: CAUGHT IN THE LIGHT           GRADE: 12,13

214)FOREVER YESTERDAY (Lees) - 1996
Another beautiful piano/vocal-intro on a perfect melody. And so
the "accordion" and "strings" join and a wonderful  two-part vocal
takes your breath away completely. The atmosphere on the song
is so warm that you get hot all over. The only difference from the
CITL-version is the length with the guitar-solo part at the end, and
that one is "goosebumping".
FROM: ENDLESS DREAM       GRADE: 12,15

215)MOON GIRL (Holroyd) - 1975
Powerful intro with a singing guitar-solo and Woollys organ as
driving force......until......that incredibly beautiful verse with Les
singing only beside the wandering melancholy synth-tones. Mel
rolls the snare-drum discreet in background as it was a war-
march from the American civil war. What a beautiful melody this is.
I got goose-bumps all over whilst listening to it. The outro with the
wandering synth-solo and all around it, couldnt possibly been
better.
FROM: TIME HONOURED GHOSTS     GRADE: 12,18

216)JONATHAN (Holroyd) - 1978
Emotional and atmospheric start on this live-issue that is more
sonourus than the original, and Woollys keyboard plays a vital
part on this with inputs that really give life to the song. The
interlude is even more beautiful than on the original. Ouch!! This
is extremely great!!
FROM: LIVE TAPES               GRADE: 12,20

217)IN MEMORY OF THE MARTYRS (Lees) - 1982
How I love the intro on this song!! It goes straight through the
spinal-nerves, before the accoustic guitar and vocal join. The
echo on vocal from time to time is just perfect. Then the drums
sneak in by "marching" snare and bumping bass-drum. And as
the bass thunders in, the situation is complete. A totally beautiful
song dedicated to Johns cousin Philip John Ireland, killed on
the road in Germany, and also dedicated to all those Germans
who offered their lives attempting to escape cross the Berlin-wall.
FROM: CONCERT FOR THE PEOPLE   GRADE: 12,23

218)HYMN (Lees) - 1977
One of the real big ones. The accoustic intro with Johns vocal
is something that puts you into a mood of melancholy, and as
the bass and organ join, its getting real sacred and ponderous,
and more and more mighty as the "strings" joins. The partsinging
vocal is wonderful. The biggest wish I have is to experience this
one played live in a huge old church or cathedral. The finish is
some of the mightiest there is on record.
FROM: GONE TO EARTH       GRADE: 12,25

219)POOR MANS MOODY BLUES (Lees) - 1992
This one is even better than the Glasnost-version. Its more
sonourus and lively. And the string-synth behind vreates almost
a "Live tapes"-sound. So its only one thing to say: almost perfect!!
FROM: STAND UP BUTTERFLY  GRADE: 12,28

220)COPII ROMANIA (Holroyd) - 1993
This is a song that touches your soul deepest inside. The lyrics
about the poor children of Romania and that complete wonderful
melody Les has created, makes you freeze all over. Cant hardly
be better.A mood that cant be copied.
And as you now understand; this is Les' best song ever;IMO.
FROM: CAUGHT IN THE LIGHT           GRADE: 12,30

221)CHILD OF THE UNIVERSE (Lees) - 1978
If the studio-version is perfect, this is brilliant!!!!! The intro here is
a masterpiece of itself. Woollys playing with the synths and Mel
crashes and rolls his "kettles" before the squealing synth-
crescendo bang in by full forces, and then down to a wonderful,
beautiful, fantastic vocal-verse. The sound on this song is the
most perfect ever made on any record. A highlight almost
without any comparision!!.
FROM: LIVE TAPES               GRADE: 12,32

222)POOR MANS MOODY BLUES (Lees) - 1977
This is definitively one of my all time favourites. Sure "Nights
in white satin" is a beautiful song, but it fades  compared with
this one. The melody is so beautiful that its almost impossible
to compete it(only one above). The orchestration here is brilliant.
The guitar-solo on interlude in front of the accoustic one is
simply so atmospheric as............I simply ran out of words.
Just listen and enjoy yourselves, floks.
FROM: GONE TO EARTH       GRADE: 12,35

223)HYMN (Lees) -1978
Ive said it before: a pefect conclusion of a perfect gig, and
this song will always be perfect. This is though the most
fantastic version recorded of the song. The long accoustic
vocal-intro is as perfect as it can be, and when the organ and
drum join, the audience are clapping, singing and waving their
lighters; can you see it??(just close your eyes). The second
vocal by Les mis completely wonderful. This song has
everything, and luckily(?) we have no "yeah"s at the end here,
only grande mellotron and strings.
FROM: LIVE TAPES               GRADE: 12,38

224)EARLY MORNING (Barclay James Harvest) - 1968/72
THIS IS PERFECT!!SIMPLY PERFECT!!Ive possibly said it
before, but imagine youre high up in the Norwegian mountains
(or the Alps or Rockies), getting up in the very early morning;
its so cold that the air is standing completely still; you, outside
the log cabin viewing  the white snow-desert, sparkling crystals,
and the sun which is about to climb over the peaks...................
The mellotron on start sets this imagination in operation; its so
cold, but still so warm, the atmosphere on this song. To be
recorded back in 68 this was miles ahead its own time as regards
the musical style. Should have made it to the top all over the
world. Shame it didnt!!!!
FROM: SINGLE/EARLY MORNING ONW.GRADE: 12,40

225)POOR MANS MOODY BLUES (Lees) - 1978
This song and especially this version means so much to me that
it almost brings tears to my eyes. Its quite impossible to create
anything more perfect than this. Everythings perfect; the sound,
the spirit, the timing; everything. Nothing more to say: Enjoy it.
This lyrics my favourite.
FROM: LIVE TAPES               GRADE: 12,45

226)BALLAD OF DENSHAW MILL (Lees) - 1993
Gigantic symphonic opening sounding as bagpipes upon a
huge number of strings and sounds from that old mill popin
in from time to time. Wonderful vocal-part thereafter with
that wandering synth. My G....., how John is singing here.
It goes straight to the spines. Its some of the most beautiful
song-parts Ive ever heard. And that sound!!!! Perfecto!!!!!!
I really applaud this song. You dont miss the bass and drums
here at all. The marching drum at the end creates a wonderful
frame. Ive simply ran out of superlatives here. And that solo
gives you completely nervous breakdown.
Beautifull!!!!!MARVELOUS!!!!!!!!THE BEST!!!!!
FROM: CAUGHT IN THE LIGHT           GRADE: 12,50