THE MAGIC OF IT ALL

Probably, one of the most defying challenges in the life of a band with a long career behind, is carrying that past against which their new album needs to live up to, if it's going to be embraced and appreciated by long-term followers. In that sense, the previous album by Strawbs had managed to pass a test, where this one fails. In effect, Settlement feels like a solid piece of that vintage prog-folk sound that used to characterize the band's early seventies output. The Magic Of It All seems to be more of a mixed bag, with other things thrown in for good measure.

The opening track, Ready (Are We Ready), sounds almost like a slice of AOR spiced up with Rhythm'n'Blues stylings, in a fashion not entirely dissimilar to Trapeze. A good, but maybe, for this band at least, unexpected touch. Track 2 finally delivers The Magic Of It All, and it does it so with a delicious vocal melody wrapped up in warm crystaline harmony. Tracks 4, 5, and 6 keep the melodic folk legacy of the band up and shining, with the help of choir and percussion wearing the local South African flavour on the sleeve.

Perhaps a less satisfactory result is to be found in tracks 3 and 7, where the ethnic simplicity of rhythms and choir doesn't seem to achieve the goal of freshness, but more likely a moment where everybody involved feels relieved from duty, and indulges in sheer fun and a sense of communion. Touching, in a sense, but hardly progressive, if you ask me.

Track 8, Paris Nights, is a rather obvious piece of parisienne charm, complete with accordion and French vocals by Dave Cousins himself, who is in fine form, in despite of his serious health issues. One maybe could feel that, in order to close the album on a high note, a song with strong solos is required. Well, don't worry then, because that's precisely what the closer brings out, with slow-burning contributions by piano and, of course, heartfelt electric guitar.

Not everything I was expecting, but surely good for its great moments.

My God, one could go bonkers trying to figure out the riddle behind this latest Strawbs outing. Particularly in trying to figure out why veteran Strawbs members Dave Lambert and Chas Cronk, on lead guitar and bass respectively, are missing from the album's lineup, as are one of the two veteran rotating drummers of either Rod Coombes or Tony Fernandez. This rendition of Dave Cousins' Strawbs consists of Cousins himself on acoustic guitar and vocals, former keyboardist Blue Weaver, along with former member John Ford, who is credited with lead vocals on only one CD bonus song while not contributing instrumentally. Both have not been official members for at least 17 years in Weaver's case, and more in Ford's case as he bailed out back in the 70's. More mystery to boggle the mind. And don't get me started on the album cover art.

I'm going to guess the obvious and say that this album started life as a Cousins' solo album, with heavy input from Weaver in producing and arranging, with parent record company Esoteric probably having pushed Dave into branding the album a Strawbs recording. Strawbs being a much bigger and familiar name than David Cousins, that's for sure. And Ford's name was tossed in to make it look more like a proper Strawbs album.

The album was recorded in Cape Town, South Africa, with a cast of crack South African studio musicians and the mix does turn out well. The lead off track "Ready (Are We Ready)" is the most Strawbs sounding, with Weaver's bombastic mellotron and organ blasted into the sound mix after the song's catchy choruses. A nice beginning that also features a wonderfully rhythmic drum and bass interplay throughout the song. The title track "The Magic Of It All" is an introspective as well as retrospective ballad that is quite poignant given Dave's serious health issues of late. It's melodically quite beautiful and Weaver's keyboard work is exquisitely understated but hitting all the cues that an emotional ballad like this requires. Again, it's beautiful. "All Along The Bay" is a jazzy lounge like song that features multiple saxophone parts. It's nothing to get excited about but breaks up the serious mood with its fun lyrics and bouncy rhythms. "Everybody Means Something to Someone" and "Our World" are more heartfelt introspective songs which feature rich female vocal harmonies (a first for a Strawbs' album) and lush musical arrangements. They are not as strong as the album's two opening songs but still enjoyable.

"The Time Has Come (for Giving Back)" is a catchy rocker with slashing guitar chords and and a hook laden chorus by Dave and the girls. It's another stand out track. "Slack Jaw Alice" is a goofy throwaway song that showcases the album's musicians, especially the rhythm section, who really swing when required. "Paris Nights" is an atmospheric song about Paris at night, naturally, with accordion supplied by Weaver. The first on a Strawbs album. It's the subtleties in the arrangements that keeps the song interesting. "Wiser Now" is another introspective ballad of someone who has lived, learned and is grateful to have done so. As someone battling through a life threatening illness this song, like several others here, no doubt reflects Cousins' wistful state of mind. A perfect album closer. The two bonus tracks found on the CD edition are nice, and the John Ford written and sung "Christmas Ghosts" features an other worldly lyrical twist. Both songs are worth having. The album is beautifully recorded, mixed and mastered by Weaver and is well polished without sounding too slick. And Cousin's vocals are superb throughout.

For an album with so many question marks, no folky acoustic guitar interplay and a lack of any prog songs, it's incredibly enjoyable on it's own terms. Truth be told, this album is not light years away from its predecessor in both style and execution. And perhaps that's the real magic of it all. 3.5 rounded up to 4 stars.

Since almost the very beginning, Dave Cousins has imbued Strawbs and solo albums alike with at least one "novelty" song, one which sits outside the mainstream styles of the group. They vary in the degree to which they assist or upset album flow. For instance, "Ah Me Ah My", while completely out of character with the rest of the Grave New World album, was exactly what was needed when it was needed, momentarily lightening the angst. "Part of the Union" arguably worked because it was written and largely performed by Hudson-Ford and on a very diverse release, "Bursting at the Seams". The problem on "Nomadness" was that half of the cuts were outliers, so the album was the structural equivalent of a termite-riddled lodging. It is unfortunately that blueprint which is dusted off on "The Magic of it All", amplified by the absence of long time members Chas Cronk and Dave Lambert, replaced with rather proficient South African musicians and their influences.

Blue Weaver, keyboardist during Strawbs' most successful period in the UK and producer of the excellent "Settlement" in 2021, has returned as producer and keyboardist, while Cathryn Craig offers welcome vocal relief. Both do help with continuity but this still feels like a Dave Cousins solo album where he indulges his varied tastes in everything but rock, folk and prog for the most part. Hard to believe the album is actually decent, but not one that will win many new fans.

The most enjoyable tracks are those that generally do adhere to Strawbs' templates of the distant and near past, chiefly the middle eastern influenced opener "Ready", which is one of only 2 rockers, the wistful and autobiographical "The Magic of it All" with its shades of JADE WARRIOR in the instrumental section that probably could not have risen from Dave Lambert's picking, and the anthemic folky "Our World".

As for the other 6 tunes, the better ones are actually those that do branch out, chiefly "All Along the Bay" in which Cousins' voice adapts to a talking style reminiscent of the Irish master CHRISTY MOORE in a shuffled sax heavy number, and the Cajun-styled "Slack Jaw Alice" which might be a tribute to Gertrude Stein's spouse, she of the famous hash brownies recipe. Ironically, "Everybody means something to someone" and "Wiser Now" are similar to some of his work on "Deep Cuts" and "Burning for You" that never really moved me and still don't, but at least "Wiser Now" maintains his high poetic standards.

Of the two bonus tracks, "Lady of the Night" is more of the same, while "Christmas Ghosts", written and sung by John Ford, sounds wonderful but is ill timed and a bit too optimistic perhaps, but not the action oriented optimism of a "We Have the Power", but one reserved for believers if you will. In all, they don't affect the overall score here.

Strawbs' final performance was at FAIRPORT CONVENTION's Cropredy festival in August, as Dave Cousins' declining health precludes further touring. This may or not be their last album. It's nowhere near as strong as the 2 preceding releases but is still reflective and heartfelt, just too mellow and eclectic for its own good. But Mr Cousins has earned the right to do as he pleases. It's a real head scratcher how a mildly successful group has survived and thrived for 50+ years, even if he has been the only founding member since 1972. And that perhaps is the real magic of it all.