The first thing that strikes you about this album is the wonderful production which sounds as good today as it did in the early seventies.

To me this album represents the true original BJH sound and all these songs feel like comfortable personal friends that have grown with me over the years.

The album kicks off with one of BJH's best songs - Medicine Man - which still sounds fresh. Woolly's Someone There You Know is much more of a straightforward song and simpler than the classical pieces that he is better known for. Harry's Song sees John Lees in an aggressive tone of voice and this is a contrast to the beautiful Ursula (The Swansea Song) one of the most stunning and evocative songs ever written by Woolly.

Little Lapwin is a simple and effective Les song and he follws this with the whistful Song with No Meaning.

The only weak link is the rather strident Blue John's Blues where John's vocals are reduced to a shriek. But the best is saved to last with the double header The Poet/After the Day. Two individual songs, they dovetail brilliantly and many fans take them as one. The Poet is Woollie's most stunningly poetic song and After the Day is John's apocalyptic prophecy. The first time I heard these two was at a concert in 1971. They finished the evening to them in a flurry of dry ice and grinding noise. One of the strongest ends to a concert I have ever seen.

The overall feel of this album is one of peace and tranquility, emphasised by the orchestra which almost brought about the band's financial ruin. Virtually the only thing wrong with the album are Roy Hollingworth's dreadful sleeve notes.

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