What makes John Tams' songs so special? Well, he has a genius for melody, and his words are intelligent and imaginative. His obvious sympathy with the underdog, both past and present, lends sincerity to his singing and provides much original material.
But musically, the reason why these are songs are so unusual is that they are obviously written by a singer, not by a guitarist or a pianist. The melodies seem unrelated to any obvious chords. The rhythms are hard to pin down. They change and develop as Tams shortens or lengthens his lines and changes his pace. The musicians have to follow along as best they can (and they do so brilliantly). The folk-rock of the past was generally driven by the rhythm section of a band. Although Sandy Denny would sometimes lag behind or forge ahead, Tams goes one stage further. His strong vocals definitely lead the band. The musicians accompany him, and the accompaniment itself has endless variations.
Another delightful touch, probably owing something to Tam's early contact with Joe Boyd (original producer for Fairport, Sandy Denny etc.) comes in the odd little musical digressions, unexpected and delightful: a change of rhythm, an unexpected instrument, a snatch of melody or harmony unrelated to the main song, leading into it or out of it.
The end result is not merely a dozen familiar tunes you like to whistle while walking the dog; neither the melodies nor the rhythms will allow for that. They are songs (or rather cycles of songs and snatches of songs) that you want to hear again and again, to rediscover exactly how they went. Some musical moments will appeal more than others, but none are so easily remembered that you grow weary of them. Their appeal is a lasting one.
"Home" was the first of Tams' solo recordings that I heard and (perhaps for that reason) remains my favourite. But the whole trilogy (with "Unity" and "The Reckoning") remains an ongoing delight.