Notes

---

Brinsley Schwarz's eponymous debut is the stuff of rock legend because it is the punch line to a great story. It arrived after a disastrous publicity blitz, where the band's management arranged for prominent British journalists to cross the ocean to hear the Brinsleys' showcase performance at the Fillmore East. In a series of mishaps that would shame Spinal Tap, the band arrived in New York hours before their show and the journalists, who dipped heavily into the courtesy bar when their plane nearly crashed, arrived minutes before the concert. The press was underwhelmed to say the least and savaged the band and the record. Listening to Brinsley Schwarz, it's easy to see why they weren't turned on by the Brinsleys: this is a bizarre, naïve blend of Crosby, Stills & Nash, Dylan & the Band, and Buffalo Springfield, with a heavy dose of early Yes. It's filled with awkward steps and bad judgments, fueled by the group's romanticized view of Californian hippies. Consequently, it's hard not to cringe or chuckle by their hippie affectations, whether it's the lyrics ("she was my lady/had no plans to make her my wife") or the a cappella folk-rock harmonies that come out of nowhere on "Lady Constant" (it doesn't help that they sing "colored serpent coiled around your waist") or the bongo solo that ends "Shining Brightly." But, amidst all this hippie posturing, there some weird touches, like the multi-octave chromatic guitar break on "Hymn to Me" or the heavy prog jam of "What Do You Suggest?" and "Ballad of a Has-Been Beauty Queen" that illustrate how English the Brinsleys still were at this stage. All of this adds up to a debut that's decidedly uneven and unsure, but in retrospect, it's easy for sympathetic listeners to be charmed by their eccentricities.

Brinsley Schwarz was hit hard by the terrible performance of their debut, so they rented a communal house and concentrated on becoming a real, organic band. They also recorded a second album swiftly, releasing Despite It All by the end of 1970. As soon as the folksy, fiddle-driven "Country Girl" amiably ambles out of the gates, the difference between the two records is apparent. They tried this kind of rootsy country-rock before, but it sounded awkward. Here, it rings true, not just because the songwriting is stronger, but because the band knows what they're doing, adding real grit and passion to the performances. Despite It All benefits from this looser playing, and for a while, it sounds like the group accomplished everything it wanted to do, since the first three songs are all early Nick Lowe masterpieces - "Country Girl," the fine ballad "The Slow One" and the flat-out terrific "Funk Angel," which is the first real flowering of his gifts as a pop tunesmith and sly humorist. After this, the record doesn't go off the rails, but it slowly loses its momentum, deteriorating to pleasant aping of CSN and Band plus the prog-inflected jams that were the bane of their debut. Some of this works - "Love Song" is a sweet tune, "Ebury Down" has a campfire charm - but when it ends with the drawn-out "Old Jarrow" (which does boast the timeless question "why don't you financially back her?" in its refrain) it's clear that the group is still in the process of finding of its voice. Their stumbles are brought into perspective by those three wonderful songs that begin the album, which not only make the record, but prove that the group does indeed have greatness in them.