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on 2 March 2014
The cover picture of Anne Briggs staring unsmiling at the camera, faithful dog at her side, as if she has been caught poaching rabbits by the local gamekeeper, expresses the appeal of this album. These are the songs and the playing of a wayward, maverick free spirit. Some of the pitching may be a little off at times, some of the lyrics a bit naive or clumsy, but there are also absolutely timeless, magical, sensual performances on this album. With Tangled Man, Fine Horseman, Wishing Well, Ride, Ride, Ride, the title track, Briggs seems to be right by your side in some lost cabin in the woods, softly crooning while firelight reflects in a couple of bottles of red wine.
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on 21 December 2016
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on 28 November 2011
Wow, rough crowd! It's hard to believe the reviews on this listing. This album is absolutely incredible, a joy to hear every time, and I come back to it time and again and rediscover why I love it so much.. truly it is a stirring collection of tunes, Brigg's voice innocent unpolished bare and true. I'm not British so maybe there's something cultural I'm not getting, but truly, I don't understand what's not to like, nay, fall head over heels for. If you know and enjoy Brigg's slightly off-keyish voice and folk guitar reminiscent of Bert Jansch, I don't understand how this album could fail to satisfy. Again, maybe it's cultural or different expectations for some but I just had to put in my two cents.. Fortunately this album gets its proper respect across the pond!
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VINE VOICEon 25 September 2007
Anne Briggs was reportedly far more comfortable giving impromptu performances in pubs and taverns up and down the country than she ever was stepping into a studio. this is after all, the lady who lived for a number of years in a friends' gypsy caravan and shunned public attention. why then has she achieved such a cult status, respected by fellow folk luminaries such as Bert Jansch (who was also for a brief time her lover)and Sandy Denny (whose vocal style is greatly indebted to her) and even, oddly enough indie art-rocker Thurston Moore?

the answer is simple - her voice. delicate yet arresting, evocative of that particular strand of melancholy unique to english trad-folk, certainly a case could be made for Briggs being the strongest female folk vocalist of her generation.

so why can we say that 'The Time Has Come' is, although a classic, none the less one not without faults? the answer lies not with Briggs herself but with the material chosen. Briggs always shone brightly with traditional material, here the choice of largely contemporary covers for the most part don't give her that opportunity to shine - 'Fire and Wine' nice enough but essentially throwaway, similarly 'Ride Ride' and 'Everytime' both pleasant but unmemorable.

however, where 'The Time Has Come' really comes into its own and what justifies its status as a classic is Briggs own material. the title track you may recognise from The Pentangle's cover version, here the tempo is gentler, more subdued allowing a whistful aching of longing to be wrung from the words. 'Sandman's Song' has beautiful lyrics painting a clear picture of childhood memories, Briggs voice full of nostalgia. 'Wishing Well' is a great collaboration with Jansch. Finally, out of character with the weaker covers Henry McCulloch's 'Step Right Up' is given a great performance, Briggs vocals particularly strong on this track.

chances are if you know your sixties folk then you already own 'The Time Has Come'. certainly if you're a fan of Sandy Denny (both solo and with Fairports) then this is essential. fans of Espers might also find something here to enjoy. in any case, flawed or no, it deserves a place in your collection.
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on 24 November 2010
Apart from the opening track I was very disappointed with this album. I love Anne Briggs' singing, which is so natural it is almost otherworldly, and carries a profound feeling and understanding for original folk songs. But as she is fully aware herself, and has often stated, her voice is rarely done justice unless she sings completely unaccompanied, and no wonder because on its own it simply gives everything you could possibly demand from a singer of this kind. It was her record label that got her to do albums with backing, thinking it would be more commercial. It wasn't and serves only as an example of what always happens when brilliant but non-commercial artists attempt to follow the mainstream: they end up losing out on two fronts instead of just one. On this record Anne Briggs sounds uncomfortable, at times even scruffy and out of tune, and there are quite few half-baked instrumental tracks, mainly played on dulcimer - not bad, but nevertheless unexciting when you think of what this woman was able to come up with in her heyday. Perhaps I'm not putting it clearly enough, but quite simply when she was in the right environment she was the very best. As it is, this album only drags down her sublime output of unaccompanied material and to my mind it should never have seen the light of day. Nice packing, though, including a small booklet with notes and pictures.
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on 13 August 2003
A mixture of her own songs with a few covers. No 'traditional' material - but when does a song become traditional? Lal Waterson's 30+ year old 'Fine Horseman' is surely well on the way. Not to mention some of Anne's own songs!
Beautifully simple vocals with fairly spare accompaniement (guitar, bouzouki), allowing the voice and lyrics to shine.
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on 30 July 2010
The album shows its age. Was she a siren? Yes. Did she galvanise a generation of folk singers? Yes. Is it an important album? Yes. But.................it shows its age and as a listener in the 21st century, you have to make allowances. The sequencing is pretty one paced. Her phrasing is, to be kind, of the old school and her voice couldn't be described as dynamic. It's one of those albums where you feel you have to listen to it in reverent silence and then find your mind and body wandering off to do other things. It's a must have for 'real' music fans but I couldn't describe it as a must listen. If you want to test the theory, listen to 'Standing on the Shore' and compare it to Cara Dillon's version. You admire both but the early version is pale by comparison. A folk legend, but this isn't indispensible.
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on 25 May 2011
it's fair to say this cd is hardly the traditional material anne is known for,but this cd gets five stars purely on the grounds that this is (essentially) anne's first as a songwriter. and her songs are nothing short of compelling. well worth the price.
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on 12 July 2014
Following the unexpected success of Donovan in the late sixties every record mogul had to have a folksinger on his books . Columbia chose the free spirited Anne Briggs , dog lover and muse of Bert Jansch . Perhaps because of circumstances and surroundings , she sounds uncomfortable and self conscious on this recording . There is nothing wrong with the songs but her versions fall awkwardly flat . She would need to look elsewhere for the missing spark .
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on 15 May 2017
Its ok but she's not got the voice of Sandy Denny.
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