I Want To See The Bright Lights Tonight

This was surprisingly good. Nice folk rock. Some had sort of Irish or Gaelic feel?! But I know they are English. I dunno. Those were the vibes I picked up on a couple of the tunes. Would like to spend a little more time with this one. I’ll give it a 3, with potential for a 4. Will revise rating accordingly if inclined.

This experience should really be called a lot of folk rock that you won't care about that you need to not listen to before you die.

I Want to See the Bright Lights Tonight I’ve never listened to this before, even though I know it's one that I should have. I’ve really been missing out, as it's easily as great as its reputation. You can hear a bit of Sandy Denny in Linda Thompson’s voice, but what she might lack in etherealness she makes up for in versatility and vitality, particularly on the excellent title track. It’s not really folk, it's not really rock and it’s not really folk-rock either, even though it has elements of all of those in varying degrees across the songs, but it also has a feel of Rumours-era Fleetwood Mac, both in song and overall sound, with a warmth to it all, particularly the electric piano on Down Where the Drunkards Roll I’ve always heard people praise Richard Thompson’s guitar playing, and it is wonderful on this, whether electric on The Cavalry Cross, acoustic as on the Great Valerio or mandolin as on The Little Beggar Girl. There’s bluesiness to it, as well as folk of course, but it doesn’t seem tied to either of those, and it compliments the mood of the music superbly, particularly on The End of the Rainbow, with a lovely plaintiveness. That plaintiveness is a theme throughout the album, a strain of rueful melancholy threading through it. It’s not completely hopeless though, despite the sadness inherent in Withered and Died, The End of the Rainbow and The Great Valerio, it’s more contemplative of life’s vagaries and sorrows, and things like When I Get to the Border, The Cavalry Cross and the title track, although thematically mournful, are dappled with shaded optimism. I’m sad I never listened to this before as it’s a fantastic album, an easy 5. 💡💡💡💡💡 Playlist submission: I Want to See the Bright Lights Tonight

weird

Almost as good as Shoot Out the Lights.

+*An ok album

This was ok, and again not what I was expecting. Some great folky songs and a few notable songs. I enjoyed the listen more than I was expecting to . Thw two worked well together and I like that it was not just the both of them harmonising, but a mix of solo and duets. Title song was fantastic, but Wihered and Died was my standout song, and a great song. 3.5 stars

I thoroughly enjoyed listening to this record. It is one of those really well done "sad songs" folk records. The songs are strong and evocative and their voices really fit the material. It completely deserves its place on the 1001 Albums You Must Hear Before You Die.

Gggggggg

I feel like half these songs could have been recorded yesterday on any number of folk albums. Need to give it a second listen.

Starts off great! When I Get To The Border is probably the best track on the album. They are English but this sounds like an Irish folk song. Calvary Cross and I Want to see the bright lights tonight are both solid as well. Love the horns throughout as well. Gives some The Band vibes at times. For two artists I’ve never heard of it’s something I will come back to from time to time.

I dig it, good interesting mix of instruments, solid backing track, good storytelling. Will be back for peg leg Sally. Without reading any background will assume this is Irish

Decent and folksy. Did I need to hear this? No. Will I listen to it again? Also, no.

It was ok, I prefer other singer songwriters

Pretty good, some highs, some lows, solid overall.

Really enjoyable despite the slightly dark tones in the album.

I had never heard of this duo before. I looked at the reviews for a hint of what I was in for and saw the tag "Fairport Convention," which filled me with dread because I am never in the mood for RenFaire ponciness outside the RenFaire. Once I got into it, though, I found something closer to Fleetwood Mac-ish rock without all the cheating. The music is masterfully done, the singers bounce off each other and play to each other's strengths, and the songs are catchy. I found myself singing along at times. Well done. I don't know if this is truly essential listening, but I'm glad I heard it. My Rating: 4/5

Don't like their voices, don't like the corniness of it all.

Hm

Bleh

Generic folk rock that is not standing out any more than another folk rock band would. Pleasant enough but is it really worthy of being on this list? I’m not entirely sure it is. Maybe I need to wait half a lifetime to get it like it’s took my mate! Best track- ‘when I get to the border’ loved the Celtic vibes toward the end of the track. Worst track- ‘withered and died’ Just about above Average 5.5/10

Richard and Linda Thompson - I Want to See the Brightlights Many years ago, more than half a lifetime, a friend repeatedly tried to get me into this album. Failed miserably. Sorry Doug, I do get it now. The melodies and musicianship I thought merely winsome actually have some grit and determination to them. And yes, you're right - Thompson is a brilliant guitarist. That opening to CC is just beautiful. And where I used to think the added brass band to the title track was clumsy it now adds the perfect colour to a truly captivating story. Would rather have this version of English 70s folk rock than that masturbatory nonsense of Led Zep, any day. Best Track - Calvary Cross just beats out the the opener, the title track and the haunting End of the Rainbow. Worst Track - We Sing Hallelujah. Still struggle with those pipes bit. Wasn't too keen on the closing Great Valerio either. 8/10

More dreary British vernacular blue collar whining folk rock. Minus any of the pub rock energy. Nope. No, thank you. Of course the British editors think this is "essential". /sigh Just folk off... 2 stars for the Engineering and Production quality, even if the songwriting and genre is uninspired. No sarcasm, I would have preferred Roger Whittaker.

pretty cool folky rock album i like it

Fun and folksy.

This is cute but also very tame.

LOVED this, completely timeless, full of very vibey music, and would never have discovered it without this list! When I get to the Border is an awesome track and this album is 5*s for that alone

I really like the title track as it stands out from the acoustic songs. The duo adds a charm to the folk rock sound.

Dull, nothing particularly exciting or engaging about it but not terrible so 1/5 feels harsh 2/5

Beautiful, melancholic folk rock with two of the very best voices of the 70s.

Pleasantly surprised

Den minnesgoda minns att den bästa låten på Trio-albumet med Dolly, Emmylou och Linda var just en LindaThompson-låt. Och i synnerhet flera av de låtar som Linda sjunger lead på här fäster lite oförklarigt hårt på mig, jag tycker om dom, titelspåret är allra bäst. Jag tycker det här är ett snäpp upp från Fairport Convention, som visserligen har en och annan acceptabel låt men oftast blir too much folkmusik. Renheten i många av låtarna här gör att det blir bra brittisk countrymusik. Svag trea

Titelspåret är bra folkrock. I övrigt är det mer betoning folk(-musik) än rock, emellanåt inte ens uthärdligt. Väldigt svag tvåa.

Helt okej folkpop. I längden blir det lite småtråkigt dock.

The Calvary cross och withered and died är ganska bra. Annars är det rätt trist Singer songwriter kryddat med irländskt tjo och tjim och folkmusik.

This just doesn’t resonate with me at all. I can appreciate it on an artistic level but I have absolutely no desire to come back to it. I’m currently waiting for it to end. Maybe someday I’ll have time for dreary folk rock. After it ended Spotify played another of their tracks which was better than this whole album.

Good country folk album. I’m surprised to learn they’re English; this was obviously very American inspired. 3.75 Top tracks: Withered and Died, I Want to See the Bright Lights Tonight, The Great Valerio

WOW this album was good as hell and perfect timing for the first big huge rain day of the fall this year. Richard AND Linda both rule

Almost a 3. Nothing special

They could’ve been one of the all-time great folk duos, but little Richard couldn’t keep his hands to himself around the wee lassies, and Linda finally kicked Dick to the curb. Poor Richard.

I don't know if they got to see the Bright Lights or not, but I definitely think they got to spend time performing at a Medieval Fair

3.5 - was pleasantly surprised by this one. A bit sad and boring at parts, but the titular track fucks pretty hard.

Good folk record.

not great

yet another case of yesterday album just being a more interesting version of todays album (Unhalfbricking by fairport convention, dope ass album rly)

Richard and Linda Thompson’s brutal end of marriage and duo’s Shoot Out the Lights. Its musical sharp edges rank near The Plastic Ono Band and Rumours for naked pain. People conflate it with I Want to See the Bright Lights Tonight, and seem to assume this early effort has a similar scarred message. While I Want to See the Bright Lights Tonight has downtrodden drunkards and waifs, they seem gentle and lost, not broken. In addition, amidst the English folk tin whistles and singing, several tunes carry let’s cut loose lyrics of early rock and roll. The title track vamps, and even has horns, with lyrics that could be from Little Richard or at least Dave Alvin of The Blasters “Marie, Marie.” The characters in this song and “Calvary Cross” have made it through a rough week, and can’t wait to hit the city, or in “Calvary Cross” get to a mythical border. Either way, Richard Thompson has hope and fun in the late 20th century on his mind, not a pending divorce, nor 13th century feudal serfdom. “The Little Beggar Girl”, “Down Where the Drunkards Roll” and “We Sing Hallelujah” trend more towards Fairport Convention songs in their stories as they provide a tour of villages rather than clubs, but none are decidedly depressive. Only “Withered and Died” and “The Great Valerio” come off as somber, tortured songs. His songwriting, along with Linda’s singing on those songs, manages to avoid maudlin sentiments. Her pain comes off as genuine, although not overwrought. Of course aiding the entire album is Thompson’s superb guitar playing. Thompson started to develop a more stinging solo style on several numbers here. This style added to his reeling around the maypole runs that made many Fairport Convention numbers take off. He could bring a swirling psychedelic feel in a far different way than Pink Floyd and the San Francisco bands. No spaciness nor special effects required. Dropping in more traditional folk playing with hints of 1930s jazz, made, and makes, Thompson the most unique guitar god in the rock canon. A few songs fit the need to be in the mood category, and that is what limits the record from my highest ratings. It certainly deserves all the kudos from critics, fans and musicians.

This is fantastic music. Good guitar work. Sad. Was thinking this was a 4 but after listening again it really worked for me

Grausam...warum ich das hören musste, erschließt sich mir nicht.

eh

Love an album with great and complicated melodies and ballads that tell a story.

I think that British Folk Rock is slowly becoming one of my favourite genres, I loved Fairport Convention's music, so listening to this was great! The guitar playing was absolutely great, and the singing and harmonies were also a highlight. While much of the music sounds quite similar - both in terms of sound and style - I still found enjoyment in each songs, particularly 'When I Get To The Border', 'I Want To See The Bright Lights Tonight', 'We Sing Hallelujah' and 'The Great Valerio'. I had listened to Richard's most recent album (to date!) very recently, and it's great to see that he still makes music that is fantastic nowadays!

Mangler revidering

Favorite Track: We Sing Hallelujah

Inoffensive but boring. Final track was alright!

No one song stuck out but I like the vibes

Really liked this album. Full marks from me!

Such a cool surprise. This album was delightful. Light, bouncy, and such different music. Reminded me of Fleetwood Mac's sound but more folksy. Loved that they sang separately and together from track to track. Favorite tracks were: When I Get To The Border, The Calvary Cross, Down Where The Drunkards Roll, and The Little Beggar Girl.

With the pedigree of the artists involved, it's probably very good if you like folk music. However..................

Really not by bag, very dull.

mooi waard om nog een keer naar te luisteren

never heard of these two but this is some pretty good folk music. i really enjoy the vocal performances, although i think i like linda's more than richard's. i think the album is at its strongest through the middle, especially from the title track to "has he got a friend for me", which might be my favourite track? i like the...kazoo?? on "we sing hallelujah" too, i feel like its rare i ever actually hear one of those used as anything more than a cheap musical joke, so its nice to hear it as an actual instrument for once. its a bit up and down but like.... not much. if that makes sense? like theres definitely a few tracks i dont like so much like "the little beggar girl" but even then i dont hate it. but on the other hand the best moments dont go much further than "pretty good". maybe im just sidestepping calling it mid. idk. in any case i dont really feel quite strongly enough to give it a 4 so its a high 3 for me i think. at least for now.

Really enjoyed this, gentle, lovely harmonies.

Not sure what I was expecting, quite enjoyed it, Pogues lite feels a bit unfair but thats what im saying

Lovely album, really nice vocal chemistry. Used to get played a lot in the car growing up so definitely a nostalgia factor in here too. Great

This was really good! Would love to listen to it again!

Put this on the enjoyed it way more than I expected list.

A bit uneven but a few tracks here that I really liked.

Sorti au beau milieu d’une année 1974 anesthésiée par les délires boursouflés du rock progressif et les paillettes d’un glam déjà essoufflé, l'album de Richard et Linda Thompson balance une décharge d’une noirceur absolue sans concession. Et il faut bien l'avouer, avec ce I Want To See The Bright Lights Tonight, on est loin voir très loin de l’imagerie pastorale et des jolies bergères en dentelle qu’une certaine bourgeoisie britannique collait alors sur le folk. Ici, le folklore anglais sent la bière des pubs crasseux, la rouille des friches industrielles et la gueule de bois du dimanche matin. Richard Thompson, génie discret échappé du sérail Fairport Convention, s’associe pour la première fois en tête d’affiche avec son épouse Linda, et ce coup d’essai s’impose d’emblée comme une étape singulière du rock anglo-saxon. Dès les premières mesures, on est frappé par cette alliance âpre et pourtant miraculeuse entre une guitare électrique anguleuse, presque vicieuse, et une voix féminine d’une limpidité à pleurer. Richard Thompson ne joue pas de la six-cordes pour épater la galerie ou aligner les plans de bluesman héroïque ; son jeu est tout en trilles acérées, en suspensions étranges et en dissonances médiévales branchées directement sur un ampli qui crachote. Face à cette tension permanente, le timbre de Linda apporte une grâce austère, désarmante de pureté, qui refuse systématiquement le pathos ou les effets faciles. Elle chante le désespoir quotidien avec le stoïcisme de ceux qui n’ont plus rien à attendre de la vie. Quand les deux voix s’entremêlent sur des refrains bancals, on touche à une forme de solennité tragique qui fout le bourdon tout en procurant un frisson d’une rare intensité. Le propos de l’album réside précisément dans ce contraste saisissant entre la lumière trompeuse du titre et la réalité sociale glauque qu’il dépeint. I Want to See the Bright Lights Tonight ne célèbre absolument pas la joie de vivre : c’est l’appel à l’aide désespéré d’une classe ouvrière qui cherche à s’anesthésier dans la fête, l'alcool et les néons pour oublier, ne serait-ce que quelques heures, la misère et l'absence totale d'avenir. Musicalement, le disque ose des collisions curieuses, intégrant des cuivres de fanfare d’un autre siècle, des mandolines tranchantes et des percussions rugueuses qui ancrent les compositions dans un terroir brut, sans jamais sonner poussiéreux ou passéiste. Les morceaux alternent uppercuts folk-rock hantés par la fatalité et ballades d'une mélancolie dévastatrice qui vous serrent la gorge sans prévenir. Alors, pourquoi je lui colle un 4 sur 5 plutôt que la note maximale ? Parce que cette austérité finit par instaurer une distance qui ne plaira pas à tout le monde. À force de refuser le moindre compromis mélodique séduisant et à force d'enfermer l'auditeur dans une grisaille d'usine sans issue de secours, le disque frôle par moments l'exercice de style doloriste. C'est brillant, c'est totalement maîtrisé, mais cette attitude laisse sur le carreau une bonne partie de ceux qui attendent un peu plus spontané. À l’époque, Island Records a laissé croupir la galette pendant des mois dans ses tiroirs en raison d'une prétendue pénurie de vinyle, privant le couple d'un écho commercial immédiat. Grand bien leur fasse : ce retard a préservé le disque de toute compromission et l’a transformé en un trésor d'initiés avant que les exégètes ne viennent s'agenouiller devant la partition. Ce premier effort en duo ne cherche jamais à séduire les foules à coups de refrains sirupeux ou d’arrangements confortables ; il regarde la détresse humaine droit dans les yeux avec une franchise désarmante et une maîtrise technique qui force le respect. Pour moi, on tient là une œuvre d'une honnêteté brutale, un classique solide qui conserve une force d'impact remarquable un demi-siècle après sa conception. C’est rugueux, piquant, intransigeant et porté par une écriture d'une grande finesse. Si vous cherchez un remède facile contre la morosité, passez votre chemin ; mais si vous voulez mesurer ce que le folk-rock britannique a produit de plus digne, ce disque reste une étape incontournable. Un grand album tout simplement.

Beautiful and slow, really suited the relaxing, cloudy day i listened to it on. Standouts are Calvary Cross, Withered and Died, I Want To See The Bright Lights Tonight and (especially) The End Of The Rainbow.

This is very good and a fun listen. I really love the duets here Richard goes really low and Linda sings on top of it. Guitar is really good backing for the vocals. I feel like folk rock is mostly just generic bullshit but when it hits it hits pretty good. This hits really good and when I say the album is a fun listen, I use it as another word for good. The album is mostly melancholy for sad. In The Little Beggar Girl, I felt a few Bluegrass elements which is pretty fun. Highlights: When I Get to the Border, I Want to See the Bright Lights Tonight, and Down Where the Drunkards Roll Honorable Mentions: The Cavalry Cross and We Sing Hallelujah 8/10

Good listen, great background working music where the lyrics just fade into the music

3/5. It was fine. Wouldn't listen again but it was alright

This was fine.

I thought this was brilliant. I really enjoyed the Fairport Connection album but I think I enjoyed this even more. Lovely singing - beautiful songs and some lovely little folky bits here and there. Going on the favourite list.

Enjoyable album. 70s folk has a bit grit than the late sixties flower power stuff of their previous band. Good variety in the songs in terms of theme, tempo and sound.

Not really my scene but listened to it with interest as I know Elvis Costello has covered a couple of the tracks on this album. And it's good, thoughtful, poignant, evocative, fair play.

Lets start with the positives, dudes an interesting guitarist and has some solid lyrics here and there. And then.... this blends in with the rest of the UK folk movement of the time in a way that FOR ME doesnt stand out all that much. The good news is they dont have Sandy Denny warbling all over this. After listening to the full album 3 times I did a little research and I honestly dont get all the hype. This is a solid 2.5 stars for me. I could have lived my life having never heard this and I would be no better or worse for it.

This British Folk Rock album feels like spending a rainy evening in an old country pub where the fire is warm, the beer is cheap, and everyone seems to have a sad story they are trying not to tell. The atmosphere is fitting, but the slow pace and subdued melodies make the evening drag on. The acoustic guitars, fiddle and accordion create a cosy, old-fashioned sound, while Richard and Linda Thompson sing about loneliness, failed relationships and everyday hardships. There is a certain charm to the music, but as the night grows late, the stories begin to blur together and my attention drifts. Instead of being drawn into the conversations, I find myself fighting sleep, waiting for the evening to end. The pub feels authentic enough, but I would rather be home in bed.

Solid folk album! Wasn’t sure what to expect from this at all, what with not recognising the names of the musicians. Enjoyed it going in blind really. Made a bit more sense when i researched a little and found out that 50% of the record was written by a guy from Fairport Convention. Some country inflections in there as well as plenty English/Irish/Scottish folk moments. Mixed in with a bit of contemporary 70s music production and songwriting and even one with an almost eastern sitar sounding intro. Great album all round - would be nice to own this one. 7/10 - 3.5/5 Standout tracks - When I Get to the Border Cavalry Cross I Want to See the Bright Lights Tonight- obviously Little Beggar Girl

Underskattat album!!!

His songwriting it astounding.

Good folk!

want to see the bright lights is a standout track, with "when I get to the border" as a close second. Everything has a working class charm and edge, the corners aren't smoothed off.

Господи ещё одна 30-минутная фолково-кантриевая скучнина....... *начинает играть The Calvary Cross* так, алё, я не понял, ЭТО ЧЁ????? Почему внезапно годно? А потом стартует третья песня, где на вокале уже жёнушка Ричарда, что опять же, положительно влияет на разнообразие и приколдесность альбома. Короче, я приятно удивлен. Всё таки к фолку я куда более расположен, в отличии от кантри.

This album wrapped up really nicely. I would have liked it more if it had the sound that the last few tracks did. Favorite track: The Great Valerio

1.7/5 I didn't really vibe with her voice on this album. The songs were ok but Ive heard it all before

I have to qualify my higher rating here, I had never heard of this in my entire life. It's over 50 years old and the recording quality is incredible. I really liked it. It's not perfect, it does have one song that is sort of circus/renn-faire coded but I just have to say that these are the kinds of albums I expected to have on this list. Albums that are largely slept o that I would appreciate hearing and knowing about. That was why I started doing this. It wasn't to confirm my biases with albums I love or to relitigate my hatred of Korn or U2.

Awesome album! Never heard of them before. It was like a Decemberists album from 1974.

Liked this in the first half, waned a bit for me in the second Playlist add: “When I Get to the Border”

Started ok but finished strong.

I Want To See The Bright Lights Tonight Richard Thompson, Linda Thompson 1974 Genres: Folk, Country, Rock Styles: Singer Songwriter, Folk Rock 1. When I Get to the Border (★★★★⯨) -Contexto: Un narrador anticipa cruzar una frontera con ánimo entre festivo y algo inquietante. La música es ligera y bailable, pero la letra deja una sombra de amenaza. La "frontera" puede leerse literal o como un umbral (salida, cambio, muerte). -Fav 2. The Calvary Cross (★★★★☆) -Contexto: Canción de desamor donde la cruz funciona como símbolo de una carga y un destino doloroso dentro de una relación. Tono grave y solemne. 3. Withered and Died (★★★☆☆) -Contexto: Canción cantada por Linda sobre el amor marchito y el deseo de escapar de la desilusión. Tono cansado, amargo y muy contenido. 4. I Want to See the Bright Lights Tonight (★★★★★) -Contexto: Un narrador aburrido o deprimido quiere salir a la noche y las luces para sacudirse el peso de su vida. Suena alegre, pero la letra sugiere que la fuga es más necesidad que placer. -Fav 5. Down Where the Drunkards Roll (★★★⯨☆) -Contexto: Invitación a entregarse a la bebida y a la vida de taberna como refugio. Ambivalente: hay camaradería y desesperación a la vez. 6. We Sing Hallelujah (★★★★☆) -Contexto: Tema enérgico de tono gospel/celebratorio, con una alegría que convive con el fondo oscuro del resto del disco. 7. Has He Got a Friend for Me (★★★☆☆) -Contexto: Cantada por Linda. Una mujer sola busca compañía y pregunta si el hombre que le interesa tiene un amigo para ella. Retrato de soledad y esperanza. 8. The Little Beggar Girl (★★★★⯨) -Contexto: Retrato de una niña pobre pidiendo limosna, en estilo de balada tradicional. Mira la pobreza infantil y la indiferencia de los demás, sin adornos. -Fav 9. The End of the Rainbow (★★★⯨☆) -Contexto: Una de las más sombrías. Alguien le da consejos a un niño y el mensaje es que no espere nada de la vida. El tono es de humor seco y negro, y muchos la toman como la canción más nihilista del disco. 10. The Great Valerio (★★⯨☆☆) -Contexto: Sobre un equilibrista de cuerda floja. Funciona como metáfora del riesgo y la exhibición ante el público, con cierta tensión y ligereza a la vez. -TOTAL = ★★★⯨☆ (3,75)

An iconic folk-rock album.

boring sorry

Самое приятное в этом альбоме – разнообразие инструментов, звук аккордеона это очень здорово. В остальном довольно скучный фолк-альбом, я даже не могу точно сказать, кто звучит лучше – Ричард или Линда. Последняя песня на удивление приятная, есть в ней что-то гипнотическое. Лучшая песня: The Great Valerio

soothing, calming. love love love.

I thought this was brilliant. I really enjoyed the Fairport Connection album but I think I enjoyed this even more. Lovely singing - beautiful songs and some lovely little folky bits here and there. Going on the favourite list.

I've reached the conclusion that anything Richard Thompson touches turns to gold, given his involvement with Unhalfbricking, Solid Air, Five Leaves Left (and with Liege and Leaf still to come). Whenever this period of English folk comes up (Drake, Fairport, Pentangle, now the Thompsons) it's a real sweet spot. The album is very English-sounding indeed, drawing on chord patterns that are of dark English folk ('The Great Valerio' a beautiful example which never seems to resolve as it narrates the tightrope walker). Yet something like 'Cavalry Cross' sounds as though 2000s American folk (such as Phospherence) owe their very existence to it. If there's anyone that could take the torch from Sandy Denny, which there isn't, then Linda Thompson is the closest, with a controlled and crystal clear voice that can perfectly express the reams of melancholy. There's so much to like about it, but it's all driven by Richard's fantastic understanding of English folk, and how to write and arrange such timeless yet traditional-sounding songs, coupled with Linda Thompson's matter of fact but spine-tingling delivery. A very beautiful album without a weak spot.

3/5

A near perfect record with great songs and performance. One of my favourites. I came at it the wrong way time wise and am always hearing where a band I admire got that idea when I listen to this which just adds to the fun.

This album has put me in a bit of a quandary. On one hand, youve got tunes like We Sing Hallelujah and The Little Beggar Girl that bring back horrifying memories of may poles, country dancing and other things I was forced to endure as a 70s child. And I get visions of morris dancing as well, which is unforgiveable. However, there are some beautiful songs later on in the album, such as Down Where The Drunkards Roll, Has He Got Friend For Me and The Great Valerio. There's an interesting complexity to the tunes. Special mention as well to The End Of The Rainbow, though it's hardly an upbeat song to sing to a child. The album surprised me, and grew on me, but there are just some things that I don't want to be reminded of. 3 stars