STRONG IN THE SUN

Like many folky bands of the early 1970s, TÍR NA NÓG decided to electrify their sound somewhat as they progressed, and one gets the feeling that the evolution was not complete by the time of this their third and final album. The generally simple acoustic vibe remains, but rock elements are making headway here and there.

"Whitestone Bridge" is the highlight here, a powerful and excellent track reminding me of MAGNA CARTA's "Ring of Stones" but with a lot more oomph. The mystical element is clear from the lyrics and the music plays to that quality in spite of the aggressive guitars and drums. Unfortunately the title cut also goes where TÍR NA NÓG has not gone before., and where they need not have gone. It is probably their most commercial cut, not bad but just too self consciously catchy and with a rather trite chorus.

While the overall quality of even the mellow tracks is down from their prior release, "In the Morning" retains that nostalgic and timeless feel. "Love Lost" embraces the peace and love far eastern vibe far more than the group had done previously but pulls it off fairly well thanks to some solid playing and mood setting. It avoids that tendency to simply float in a non-pharmaceutical haze.

Perhaps it was simple lack of commercial success, perhaps personality issues, or some other reason, but the TÍR NA NÓG saga ended here, on an album where they failed to reproduce the magic they had conjured before. In spite of the generally tasteful style on which the group could be counted, this finale has grown weak in the shade of intervening years. 2.5 stars rounded down.

3.5 stars really!!!

TNN's third album Strong In The Sun is produced by Procol's Matthew Fisher (he adds some organs as well) and it's little wonder we'll find a much rockier ambiance, while the front cover picture was taken by ex-Crimson member Ian McDonald. Released in 73, there was little to indicate this would be the last of their Chrysalis studio effort.

Some of their tracks are now full-blown rock tracks like the poignant Whitestone Bridge or the enthralling and contagious Cinema and its fantastic hookline. No less interesting is the haunting Love Lost with the duo's wordless painful chorus, plus the slight sitar-induced strumming, Most Magical is indeed almost that: magical. A gentle rocker with plenty of folk, but with full instrumentation, including electric piano. The Nick Drake cover of Free Ride is not as good as the original, but it's probably the only cover of his recorded while he was alive. On the quieter folkier side Teeside and the Celtic-tinged Wind Was High are both interesting.

With no further explanation, the duo would disappear off the radar, with no further album (studio, live or compilation) for at least two decades. And there appears no valid reasons either, for SITS was their stronger album to date, even if the duo was slowly losing its pure folk edge in favour of a rockier flavour ( ;o)), but it was still the album from which TNN should be approached if you're coming from the rock realm