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Old 06-07-2022, 10:41 AM   #21 (permalink)
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Been my favorite for about 10 years now.

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Old 06-07-2022, 10:49 AM   #22 (permalink)
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For me, it's a little bit of both. My favorite song (It's farther up in the thread) has an incredible melody and amazing lyrics not to mention the arrangement.

But there is something about the song that takes me back to when things seemed simpler. It's hard to describe, but there are songs that just feel like a part of you. That's how I feel about my favorite song.
"Strawberry Fields" is an amazing creation in every conceivable way. "Nothing is real, and nothing to get hung about..."

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Old 06-07-2022, 10:58 AM   #23 (permalink)
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Speaking of nostalgia, this is my second favorite song. I remember hearing this on the radio when I was four years old and remember how wonderfully eerie the lead guitar was.

Donovan is oft underrated! I love this one also - Jimmy Page on skeletal guitar:

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Old 06-07-2022, 11:15 AM   #24 (permalink)
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Hey, Ribbons! Welcome back! Missed ya!
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Old 06-07-2022, 11:19 AM   #25 (permalink)
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Hi, TH - Missed you too! Thanks so much.

(Lots going on lately - hope you and Karen are doing OK. )
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Old 06-07-2022, 06:40 PM   #26 (permalink)
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Well, I hope it's good things going on, ribbons ! Good to see you back again

Yes, Strawberry Fields is a good choice; it could've been mine too along with Waterloo Sunset, but both of those are just so familiar to me that they've slipped off my listening chart tbh.

Still surving from a long time ago are these contrasting songs, because you know, people can have more than one mood, can't they?

Love everything about "Son Of Mirror Man - Mere Man": the structure of the song, the intensity of playing from everyone involved, and Cptn Beefheart sounding his barbaric yawp:-



At one time, going home alone at night through empty streets was a regular part of my life. Thanks for your company, Nick Drake:-



Still remember the "Hey, listen to this!" moment when a good friend introduced me to the guitar playing of Duane Allman and Dickey Betts:-

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Old 06-08-2022, 12:45 PM   #27 (permalink)
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Well, I hope it's good things going on, ribbons ! Good to see you back again
All is well, Lisna - thank you! And it's always good seeing you around.

I have also spent many a time in Nick Drake's company, listening to "At The Chime Of A City Clock" while driving at night. In fact, I love Bryter Layter so much that it inspired my purchase of a Guild acoustic similar to the one Nick poses with on the cover.

"For a stone in a tin can / is wealth to the city man / who leaves his armor down."


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Old 06-08-2022, 06:41 PM   #28 (permalink)
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Thanks, ribbons. Nice to know that you also love Bryter Layter, and yes, City Clock is full of great lines - plus of course, the way that saxophone comes in

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I have also spent many a time in Nick Drake's company, listening to "At The Chime Of A City Clock" while driving at night. In fact, I love Bryter Layter so much that it inspired my purchase of a Guild acoustic similar to the one Nick poses with on the cover.

"For a stone in a tin can / is wealth to the city man / who leaves his armor down."

^ Very nice photo: I had no idea you played the guitar! Well done on buying the same as Nick's. And how about the shoes on the cover? I've never seen any like those in a shop.
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Old 06-09-2022, 11:53 AM   #29 (permalink)
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Nice ride you got there.

I remember playing a friends Guild when I first started, and it was like a switch turned on in me thinking: "So, this is how guitars should play and sound" after I had been on my crappy Decca for a year or so. I had much to learn.
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Old 06-09-2022, 02:43 PM   #30 (permalink)
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Thanks, ribbons. Nice to know that you also love Bryter Layter, and yes, City Clock is full of great lines - plus of course, the way that saxophone comes in

^ Very nice photo: I had no idea you played the guitar! Well done on buying the same as Nick's. And how about the shoes on the cover? I've never seen any like those in a shop.
Thanks, Lisna! I love Ray Warleigh's noirish sax on “Chime” - as well as Ray Kirby’s beautiful string arrangement shifting from major-to-minor chords and the absolute spine of Nick’s guitar, which allowed everything else to exist. As for those SHOES on the cover (plus a few other things ):

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© The Guardian 8 Jan 2016

Nick Drake’s career may come cloaked in myth and mystery, but one facet often overlooked by musical historians and cultural scholars are those shoes. Those incongruously bulky blue suede brothel creepers with banana yellow laces.

For many years I assumed the disbanded footwear on the cover of Bryter Layter were some kind of symbol of the introverted, agoraphobic musician’s rejection of fame and its exhibitionist implications. After all, would a soft, dandy-ish sort like Drake really slip on something so commandeering? However, thanks to the premise of this feature, the story behind the unlikely shoes has been unearthed. As it turns out, the creepers in question are symbolic, but were owned by the portrait’s photographer, Nigel Waymouth.

If one forum is to be believed, Waymouth’s shoes, which were made to design by the Chelsea Cobbler, were placed in front of Drake’s feet “to add an optimistic note (blue suede shoes – dancing shoes), in an otherwise sombre photograph, that would echo the title of the album, Bryter Layter.” The post also goes on to detail its other items: the chair Drake sits on was once reportedly owned by Charles Dickens, who sat in it to write, and the small Guild guitar was one that Eric Clapton gave to his friend and flatmate Martin Sharp. Backstory aside, the other intangible elements of the image come from its awkward composition, something that I love, but is likely to infuriate design pedants, from the positioning of the portrait in the oval shape which looks a little off-kilter, to Drake’s face, largely covered in shadow. I happen to think his terrible posture and shadowy face is rather apt, given his temperament. Its colour scheme, a very 70s clash of bold hues – mauve, red and orange – are also gregarious shades that seem to complement what Melody Maker referred to, somewhat snidely, as this album’s “cocktail jazz”.

Examining this vinyl sleeve in 2016, the artwork appears effortlessly aloof and elegant, it emanates a strange sophistication, and is a symbol of a man who shirked the spotlight, the stereotypes and the silly shoes of the 1970s. - Harriet Gibsone
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