Strawbs: The Ferryman's Curse 2017

 

Strawbs enjoyed some level of commercial success in two forms in the 1970s: as an earnest prog folk band cum pop stars in the UK ("Grave New World" and "Bursting at the Seams"), and, with a 60% lineup change, as a symphonic prog band with folk underpinnings in the US ("Hero and Heroine" and "Ghosts"). The band never completely eschewed conventional song structures even at their most adventurous, but have been able to straddle the boundaries of their various genres.
                                                                                 

In recent years it's the members of the later incarnation that have been recording and touring, meaning Dave Lambert (guitars) and Chas Cronk (bass) are in the fold, augmented by Tony Fernandez (drums) who was with the group during the late 1970s and Dave Bainbridge (keyboards) of prog folk band IONA. Bainbridge has writing credits on 5 of the 10 tracks, including two instrumentals, and exerts considerable influence on his Strawbs studio debut, as does returning superstar producer Chris Tsangarides, who manages to equalize the highs and lows of Cousins' septuagenarian vocal chords. They remain an acquired taste in their CAT STEVENS meets PETER GABRIEL and FISH mode. I'm glad I acquired it years ago.
                                                                     

The first instrumental, "From the Beginning" offers a contemplative introduction to the album, with piano and orchestral strings eventually bolstered by drums and organ. As it segues directly into "The

Nails from the Hands of Christ", we begin with just a hypnotic beat that recalls nothing more than the PET SHOP BOYS' hit from 1984, "West End Girls". The lyrics and vocals are classic Cousins though, and his sense of humor is intact, particularly when the gift shop manager tells the protagonist that the nails are "kosher", and when he comments that the nails were rusty and bent, "as if to make a point". Lead and rhythm guitar suffuse additional drama, as does mellotron choir in the theatrical buildup. Speaking of mellotron, I suspect they are using samples rather than an actual flesh and blood beast, but they are as welcome as the album.
                                                           

In the tradition of sedate somewhat morose ballads of the past (Barcarole from "Burning for You", Sealed with a Traitor's Kiss" from "Deadlines", and "Copenhagen" from "Dancing to the Devil's Beat" all come to mind), "The Song of Infinite Sadness" downshifts for the duration. A bit too funereal for me, it does sound better with time, and, again, the lyrics are typically insightful. This wisdom is again evident on "The Familarity of Old Lovers", one of my 2 favourites. The delivery is a touch playful if resigned, and the lead guitar figure is succinct and addictive. The outtro involves both Lambert and Bainbridge interjecting each other on lead guitar, and is a winning idea.
                                                          

Now to the heart center of the album, "When the Spirit Moves", in which Cousins dons his "Benedictus" voice for a rare occasion of unabashed spirituality, backed in choral style by his bandmates. Musically, it develops the ideas on "When Silent Shadows Fall" from the prior album into a triumphant statement that is compelling from the first to the last note, attaining a crescendo that is suited to a closing number, and indeed it would form the end of Side 1 on a vinyl copy.
                                                 

Next up is Dave Lambert's sole songwriting and lead vocal contribution, the bluesy "The Ten Commandments", which was written some years ago but fits thematically with the religious directives on the disc. While a break from Cousins' voice is welcome, it's perhaps my least favorite track, and initiates the listener into the weakest part of the album. "The Reckoning" is a decent instrumental with haunting mellotron flutes and piano by Bainbridge as well as pleasant acoustic guitar, but as lead in to the epic title track, it fails to impart sufficient gravitas. However, as it turns out, it imparts more than the

title track merits! "The Ferryman's Curse" is the sequel to "The Vision of the Lady of the Lake" which appeared on "Dragonfly" back in 1970, which was the sole prog-oriented piece on that early album, a multi verse epic with a lovely melody and occasional hard rock accompaniment.

Lyrically, this update resolves some questions that lingered for 47 years, and spins a fascinating tale in which the same number of years has ostensibly elapsed since the first misadventure. As poetry this is brilliant, particularly some of the Greek mythological references and how, in typical Strawbs fashion, the story itself seems to unfold outside of any specific historical setting. Unfortunately the whole 9 minutes is delivered as a dirge. Admittedly, the original piece was a challenge even for a young Cousins' pipes, so perhaps a decision was made to compose the piece for a narrower vocal range where he could still emote away but all studio mirrors and singer would be safe!

Within all these constructs, the one hard rock moment on the album is the blistering instrumental break towards the climax, which isn't my cuppa but which might ignite some new fans if they only get that far...
                                                           

The final two tracks adopt a far more optimistic and vivacious tone. While such tendencies have never been Strawbs' strong suit, both are handled better than in the past, and achieve respectable equilibrium as pop folk music, particularly "Bats and Swallows", an account of a Mediterranean vacation and the human and animal sights and sounds perceived by Cousins. The highlight instrumentally is the

geographically appropriate bouzouki solo by Bainbridge,

The main musical theme of "We Have the Power" is delivered on synthesizer, and the song structure, and perhaps even the lyrics, are like a much sunnier take on "Call to Action" which appeared on "The Broken Hearted Bride". The ending seems a bit off kilter though, leaving me wondering if it was intentional or not, since so much TLC clearly went into the making of this release. Unless they ran out of studio time?

This is simply one of Strawbs' finest releases! I say this not as a fanboy needing it to be so. It is a masterpiece that stands with their best. If it proves to be their last of new material,they can be proud. Highly recommended!

Strawbs – The Ferryman’s Curse
Label: Esoteric Antenna – EANTCD 1070
Format: CD, Album
Country: UK & Europe
Released: Nov 3, 2017
Genre: Rock
Style: Prog Rock

- Dave Cousins / vocals, acoustic & electric guitars, electric dulcimer, autoharp
- Dave Lambert / vocals, lead & acoustic guitars, ebow
- Dave Bainbridge / keyboards, electric & acoustic guitars, Hammond organ, bouzouki
- Chas Cronk / vocals, bass, 12-string guitars
- Tony Fernandez / drums, percussion

TRACKS

01. In The Beginning     2:01
02. The Nails From The Hands Of Christ     6:07
03. The Song Of Infinite Sadness    5:02
04. The Familiarity Of Old Lovers     6:08
05. When The Spirit Moves     6:50
06. The Ten Commandments     5:34
07. The Reckoning     1:53
08. The Ferryman's Curse     8:58
09. Bats And Swallows     4:03
10. We Have The Power     3:58

MP3 @ 320 Size: 124 MB
Flac  Size: 326 MB

THE FERRYMAN'S CURSE  LYRICS
                                                                                                                  

The boatman lived in a stone-built house
Three score years and ten on earth
His wife was younger by several years
They lost their only child at birth

Father raised the house with his bare hands
Mother toiled the fields by day
He never spoke of the lady of the lake
The brush with death which caused him sway

The boatman made an honest living
Along the river's south-side bank
Family gatherings, household trips
From time to time the river grew dank

One such day when the river was foul
The boatman took his wife to town
Breathing heavy on the journey home
Fever struck as the sun went down

The sickness raged for several days
The doctor rambled in despair
The old priest read the sacraments
Decay and death hung in the air

A coin for the mouth of his dying wife
Was duly placed beside the bed
A knock on the door on that moonless night
The boatman feared the word had spread

                                   

A stranger stood on the front porch step
Stovepipe hat and long black coat
"I come from the other side" he whispered
"I carry souls in the ferryman's boat"

The ferryman growled, "I've come for your wife"
The boatman said, "She ain't dead yet"
The ferryman raged, "I need her now
It's time that you repaid your debt"

The boatman tried to make the peace
The ferryman spat and cursed and swore
As evil speaks as evil must
He called the boatman's wife a whore

"You lusted for my daughter fair
Betrayed her in a mire of sin
You married, knowing of her fate
Time has come for the reckoning"

The boatman said "No debt is due"
The ferryman's rage could get no worse
"It was me who caused you suffering
The still-born child of the ferryman's curse"

"I ain't yet put the coin in her mouth"
The boatman said with rising fear
"That job is mine" the ferryman said
And slashed the boatman on the ear

                                                                              

The ferryman held a wicked knife
Razor sharp, serrated blade
Stabbed at the boatman's arms and face
Terrifying were the screams he made

The boatman reached for his Bible
To shield him in the violent fight
He reached for a log from the open fire
And set the ferryman's hair alight

The ferryman fell to the floor in agony
Dropped the knife on the boatman's bed
The boatman stabbed him in the gut
The screams died as the floor turned red

The boatman sat beside the bed
Holding his young wife's tiny hand
Her eyes opened wide as the fever left
He gently stroked the wedding band

She sat up slow, looked all around
Bared her pointed teeth and smiled
Flung herself in the boatman's arms
"I am with child, I am with child"

They dragged the ferryman to his boat
Placed the coin in the deadman's mouth
They silently rowed to the other side
The ferryman's curse was the boatman's prize

Strawbs on Urban Aspirines Here