8 of 8 people found the following review helpful
on 13 September 2009
As Bert's 2nd album, this is one of his purest and simplest recordings. His style is still based solely around the guitar and his voice and his voice is still pure and clean. After listening to this album, you will feel like you're getting to know Bert; he tells how his father left when he was young in Want my Daddy Now, the notes on the back are written as if you know Bert and his friends already and he even laughs in the track A Man I'd Rather Be. The album includes some brilliant instrumental tracks like the dreamy Tinker's Blues (written for his flatmate's cat) and Lucky Thirteen (with John Renbourne). If you want to get a good introduction to Bert Jansch I would reccomend getting this and his first album, for a comrehensive introduction and taste of his music.
4 of 4 people found the following review helpful
These are the first Bert Jansch albums I've heard, consisting almost entirely of the singer accompanied only by his own guitar. Although he's tagged as 'folk', this mainly self-penned material consists simply of personal experience (mostly love) and observation. Tinged here and there by blues and jazz influences, it's a short step from here to the 'singer-songwriter' tag. The first album contains six short instrumentals among its fifteen tracks, including a worthy version of Davy Graham's classic, 'Angie', and emphasises his excellence on guitar. His voice is soft, deep and melancholy almost throughout, whereas on the second album there are moments of insouciance and there are signs of a broadening vocal approach. Of the two duets with John Renbourn, 'Lucky Thirteen' provides a highlight, while of the songs, only 'Anti-Apartheid' sounds awkward. This is a collection of sometimes compelling, always honest performances by a then (1965) budding talent.
2 of 2 people found the following review helpful
Bert Jansch had come from Edinburgh to London by 1965 and had his debut album in the early part of the year. The songs clearly relfect the life up to that point. This second album came out at the end of the same year and the songs reflect life for Jansch in London.
Once again this is a fine folk album. Unlike the debut album which had been written in a front room of a house, this album was recorded in a studio. This factor may have made Jansch more nervous than the more relaxed setting of his debut album but the end result is just as fabulous. This really is a great album with some fine songs and instrumentals. If there were any nerves during the recording Bert had his friend John Renbourn along with him on two tracks here. Renbourn plays lead acoustic guitar on lucky Thirteen, a guitar duet based on a song by Renbourn. Renbourn also helps out on My Lover which has a mystic easten feel to it. There are nine songs by Jansch. One is by Alex Campbell, so long been on the road so long. And there is a traditional song 900 miles. On that track the studio recording offers the advantage that Jansch accompanies himself on the banjo. There is a track called A man I'd rather be that features lead vocals by Roy Harper who also appears with renbourn on My Lover. There are also two instrumentals Tinkers blues and The Wheel.
The re mastered sound is excellent here and this CD version is good all round with a good booklet that has good photos. If you like John Renbourn early albums or you liked either albums by Davy Graham or the debut album by Bert Jansch then you will like this great blues, jazz folk acoustic album.
on 8 March 2014
It's extraordinary that this, and the single album of It Don't Bother Me, have better reviews than the debut 'blue' album -perhaps it's because the former has a much lesser reputation and only confirmed fans buy it. Whereas the blue album is superb, the best of its kind, by his second album Bert already seemed to be running out of ideas. Musically it's still good, if far less striking than the first; but the lyrics are stuffed with every kind of po-faced 60s cliché. Anti-Apartheid, for example: terrible title, terrible song; in fact, possibly the worst 'issue' song ever recorded by a major artist. And Bert saying it don't bother him is about as convincing as Alan Partridge saying how really, really *amused* he feels when criticised. In other words: I'm pretty sure it do bother him.
Fortunately Bert was to get a second wind by interpreting traditional songs, and through his role in Pentangle; but as a songwriter he had no more to say. Five stars for the first of these albums, three for the second.
It's worth pointing out that two tracks from the original IDBM have been omitted for reasons of space (and yet Anti-Apartheid made the cut!). At least they had more sense than to cut any of the blue album tracks.
10 of 13 people found the following review helpful
on 5 February 2009
I have been listening to Bert since he began and it is great to have stuff on CD that I used to have on LP He is special He was born a few days from Joni Mitchell and altho they are very different they are both very special original musos He is a gentle man I prefer the early work as in this CD here as the later work shows what years of fags does to your voice But any Bert is good Bert
on 18 October 2015
Fantastic that is has been released as it is one of the best sixties folk albums. bert jansch is the beginning the middle and the end of everything that is good about acoustic folk and more of his work should be released on vinyl. His playing has influenced artists like, John Martin, Paul Simon, nick drake, jimmy page and Neil Young. A true master of his craft.