CATALOG CRAWL: THE STRAWBS, Part 4 (1975-1977)
The Strawbs faced a variety of new challenges as they moved in the second half of the '70s. In addition to the changes in lineup that were de rigeuer for the band by this point, they also changed labels between the first and second albums covered below. The songwriting became more democratic as Cousins explored co-writing, most notably with Chas Cronk. Most importantly, there was a stylistic shift away from their unique folk-tinged version of prog rock towards a slicker, more succinct and commercial style designed to fit in with the AOR trends of the era.
As a result, this is a controversial trio of albums for progressive rock fans, with some criticizing the group from straying too far from the art-rocking glory era established between Grave New World and Ghosts. However, others in the prog culture enjoy the pomp-rock style that drives these albums and their ability to blend hooks with musicianship, even if those same fans quibble over what works and what doesn't on these albums. In any event, the following trio of albums are all interesting listens, particularly as a kind of aesthetic Rorschach test of how much of a prog traditionalist you are...
NOMADNESS (1975): their final A&M album offered another stylistic transition for this ever-mutating band: no full-time keyboardist, shorter songs, prog downsizing to pomp and, most shocking of all, no mellotron. That said, the band's persona remains intact thanks to Cousins' leadership and songwriting: "Hanging In The Gallery" is a powerful expression of artistic self-doubt dressed in a pastoral, almost hymn-like backing, "The Golden Salamander" expresses its esoterically downbeat musings in a beguilingly ethereal manner and "So Shall Our Love Die?" pits romanticism against uncertainty over a lilting acoustic folk melody. The other members contribute tunes that add diversity, like Lambert's "Little Sleepy," a rousing pub rocker with a Stones-y groove, and Cronk's "The Promised Land," whose pomp-inflected lavishness would have fit on Ghosts or Hero & Heroine. The result is stylistically stripped-down enough that proggers sometimes complain about it but the Strawbs have always been defined by their material and this album maintains that standard of quality. Unexpected surprises: the jazzy torch song quality of "Absent Friend" and the Hudson & Ford-style jauntiness of "Tokyo Rosie."
DEEP CUTS (1976): the band enters its AOR period here, utilizing producers Rupert Holmes and Jeffrey Lesser for a slicker sound as Cousins pens some overt radio songs, usually in collaboration with Cronk. For example, "I Only Want My Love To Grow In You" is built around a hooky chorus and straightforward love lyrics and "So Close And Yet So Far Away" is another very lyrically direct ballad, complete with a tear-jerking melody and vocal. A lot of prog fans bitch about the pop-friendly slickness and shorter songs but the Holmes/Lesser production is actually quite sympathetic to the band's style, with elaborately-arranged story songs like "The Soldier's Tale" and "Beside The Rio Grande" receiving a robust sonic treatment full of progressive textures (the mellotron makes a big comeback on this album). Songs like "Charmer" and particularly "Simple Visions" harness the band's musical chops to strong, hook-driven melodies that give the listener the best of both worlds. As far as compromises go, this one's pretty engaging and better than fans longing for another Grave New World will admit.
BURNING FOR YOU (1977): If you look at Deep Cuts as a prog affair with AOR/soft rock leanings, consider this an AOR/soft rock album with prog leanings. Lesser returns to produce this one solo and pushes commercialism to the hilt: "Heartbreaker" is arena-friendly pomp rock in the vein of Styx, closing ballad "Goodbye" is wrapped in plush orchestration tailor-made for Top 40 radio and most of the songs are four minutes or less. Thus, the "prog or die" Strawbs fans need not apply but if you can appreciate AOR/soft rock material from this era, the Strawbs filter it through their unique musicality here. Glimpses of the old prog shine through in spots: "Burning For Me" evokes a haunting and contemplative mood, "Alexander The Great" is a rock business cautionary tale with a fanciful arrangement and live favorite "Cuts Like A Diamond" wrings a compelling tension from pitting tough guitar riffs against swirling strings. It's not as consistent as its predecessor but has enough memorable songs to be worthwhile for devoted fans. Hidden treasure: the lush lullaby "Barcarole."