Nic Jones has always been in the background of my life. From my earliest days we had a cassette tape of this fine album on our trips to the Lake District, and Nic's sonorous tones make that landscape come alive.
Regarded by many folkies as Nic's best album, this was recorded at the zenith of his career, just two years before his tragic car accident. Unable to play since then, subsequent releases have been taken from live recordings at gigs and festivals, but this studio album captures the intricacy of his playing and arrangements at their peak.
On Nic's playing, I have to say something that may sound over-enthusiastic. His ability to play rhythm and melody simultaneously is hard to match, even today. The depth of sound his guitar style creates is simply spell-binding, especially on his Canadee-I-O.
Much of this album is related to the sea in one shape or another, and creates highly evocative images of the hardships of cold (The Little Pot Stove) and the dangers of the sea (The Drowned Lovers). There are the obligatory stories of forbidden and lost loves, but all told with a sensational emotional intelligence.
Now, for non-folkies, I can't say this is going to appeal especially. This music is pretty much at the heart of the 60s/70s folk revival, and as such it may not have appeal to a wider listenership. But current folk starlets such as Kate Rusby and Jackie Oates cite him as a major influence on their own music. So for the historiography of folk, this is a purist's dream.
With a better singing voice than Martin Carthy (not too hard) and sublime arrangements of traditional songs, Nic Jones has entered into folk legend. If you want to know what the fuss is about, you'll have to hear him. If you're scared of woollen jumpers, you'll be more appreciative of modern folkies like Rusby and Seth Lakeman. But Nic's influence is present in every bit of their music.
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