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Nick DrakeAlbums ReviewedFive Leaves Left (1969)Bryter Layter (1970) Pink Moon (1972) Five Leaves Left(1969)A gentle English folk-singer, Nick Drake hardly caused a ripple during his short life-time; he was too shy to play live, and barely sold a record. Posthumously, his small output has earned plenty of attention; his measured and delicate approach produced some of the most timeless music of his generation. A talented guitarist with a gentle voice that's perfect for his material, it's difficult to dislike Drake's sensitive approach. While he can become monotonous if you're not in the mood for his elegant ramblings, it takes a cynical mind to completely dismiss his unassuming talent. All three of his albums are different in character; debut Five Leaves Left is more conventionally folk, Bryter Layter is lusher, while Pink Moon is rawer with Drake alone with an acoustic guitar. Throughout his short career, Drake was remarkably consistent; I count one substandard song on his three studio albums, the generic 'Know' from Pink Moon. Because of this consistency, choosing a favourite Nick Drake album can be a difficult process, but this is probably my least favourite, due largely to the lack of a major song. Either way, it's an accomplished record that should have established Drake's reputation in the landmark year that also gave the world Tommy, Crosby, Stills, and Nash, Our Mother, The Mountain, Liege & Lief, Let It Bleed, In The Court of the Crimson King, The Band, Led Zeppelin's first two albums, and Abbey Road .......... perhaps it's no surprise that Five Leaves Left went by unnoticed. Picking favourite songs on this record is also difficult, as it is all extremely competent, even if it's slightly monotonous is places. Favourites include the moody 'Riverman' and the subtle jazzy groove of 'Man In A Shed', even if the lyrics in the latter are somewhat banal by Drake's standards; "the man is me, yes, and the girl is you" isn't a particularly profound conclusion, even if Drake has the wistfulness to pull it off. Elsewhere, Drake's lyrics are beautifully innocent and effortless in a way that an intellectual like Paul Simon could never hope to achieve: "Betty said she prayed today/For the sky to blow away/Or maybe stay/She wasn't sure" reads a couplet in 'River Man'. Opener 'Time Has Told Me' might be the most energetic piece in Drake's catalogue, although that's largely due to guest guitarist Richard Thompson's overplaying. Scarily, the album's title was grimly prophetic; five leaves (years, if we're going to be literal) later Drake accidentally overdosed on sleeping pills, only leaving two further albums for an almost flawless recorded legacy. I'm only giving this a four, mainly to distinguish it from his other albums, which I enjoy even more, but it's an extremely high four and you can't go too far wrong with it. 
Bryter Layter(1970)I've always wondered what it would have sounded like if Nick Drake had decided to plug in an electric guitar and rock; unfortunately we don't find out here, or anywhere else in his catalogue. A more ambitious record than Five Leaves Left; the high points are more satisfying than anything on Five Leaves Left, but the album also drags in places. Drake is joined by Fairport Convention musicians Dave Pegg, Dave Mattacks and Richard Thompson and ubiquitous folk producer Joe Boyd, while Velvet Underground alumni John Cale and string arranger Robert Kirby contribute the grandeur to gorgeous ballads like 'Fly' and 'Northern Sky'. While the overbearing nature of some of the arrangements could potentially distract attention from Drake, singer-songwriter, the songs on Bryter Layter emphasise prettiness rather than intimacy, and the strings and keyboards only help to draw the beauty out. Of the ten tracks, three are instrumentals, which are pretty but not as significant as the actual songs, while the six and a half minutes of 'Poor Boy' drag despite the song's unique hybridisation of folk and jazz. Despite the fact that the other six songs are virtually flawless, these four songs add little to the record, even though they successfully perpetuate the flavour of the album. The key track on Bryter Layter is 'Northern Sky', a song that is almost unparalleled in beauty in the entire genre of popular music. Cale contributes lovely keyboard accompaniment on celeste, piano and organ, adding a lovely middle section that links the song's two halves, while Drake breathes the elegantly enigmatic lyrics; "Been a long time that I'm waiting/Been a long time that I'm blown/I've been a long time that I've wandered/Through the people that I've known." 'Fly' is almost as superb, bringing out the yearning in Drake's voice. 'At The Chime Of A City Clock' and 'One Of These Things First' bring a jazzier touch, while the two separate parts of 'Hazey Jane' are alternately bright and soothing. In short, this an album of almost unrivalled prettiness, and it's safe to state that any album released by Nick Drake is worthy of addition to your collection.
 Pink Moon(1972)After the failure of his first two accessible and excellent albums, Drake went the opposite route with his third. Recorded by Drake alone, facing the wall in a deserted studio, Pink Moon showcases him at his rawest. It's a rare talent to be able to keep an entire album engrossing with just a guitar and vocal, but there's so much beauty and desperation encapsulated in these eleven songs. While Drake never raises his voice, there's an unsettling intensity in the insistent strum of 'Things Behind The Sun' and the fragile beauty of the title track. Without all the strings in the arrangements, it's a pleasure to be able to hear Drake's superb guitar playing at the forefront; the only overdub is some piano on the title track. It's the first half of Pink Moon that's really captivating; the title track, which boosted Drake's profile immeasurably after being featured in a car commercial, has a beautifully delicate melody that's complemented by the simple piano line. 'Road' and 'Place To Be' are similarly pretty, while 'Which Will' is gently insistent. 'Things Behind The Sun' almost seems like a sequel to Joni Mitchell's 'This Flight Tonight'; it evokes the same feelings of paranoia, rendered even more intense by Drake's relentless guitar. The second half doesn't quite reach the same heights; 'Know' is strangely generic and banal by Drake's standards, while the remainder of the album isn't as intense as the first half, even if it's still impeccably written and performed. Sadly, Drake's recording career ended here, after he overdosed on sleeping pills two years later, unappreciated at the time but now a cult figure. This album gets four and a half stars, and it's probably my favourite, but the ratings on this page are merely academic due to Drake's consistency; if you like one of his albums, do yourself a favour and grab the other two as well.
Time of No Reply(1986)An outtakes collection, which is supposedly well worth picking up; it's out of print and I've never seen a copy, but I'm looking out for it. |
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Written 2001-2007, Graham Fyfe
