CAROL OF HARVEST

A German band from a semi-rural town immediately west of Fürth and Nuremburg, the band's members were right out of high school (except for late addition, singer Krause, who was only 16 years old when she joined the band--17 or 18 at the time of recording this album.) There are so many diverse influences in the psychedelic nuances to this prog folk music. With Beate's crystalline Celia Humphries/Jacqui MacShee/Sandy Denny-like voice singing in perfect British English, one could easily mistaken this music for something coming from the Isle of the Britons.

1. "Put On Your Nightcap" (16:02) synthesized or filtered wave/wind sounds provide the background for some standard blues chord construction with electric guitar over its two minute introduction. When the haunting voice of Beate Krause enters it is with surprising confidence and maturity. Bass and drums eventually join in as do layers of background vocals (provided, no doubt, by Ms. Krause). Annie Haslam-like vocalise in the fifth minute precede a shift into a second motif in which an interesting synthesizer solos over the foundational two chord rhythm section. Beate's confident, cleary British-accented English is also remarkable for its lack of German accent. Very nice lead electric guitar solo in the tenth minute before the song fades into electronic waves in order to make way for a new, more pastoral movement founded upon arpeggiated guitar chords from multiple guitars. Beate's vocal styling stolidly mimics that of Britain's finest female folk singers of the previous decade--especially those of Jacqui MacShee and Sandy Denny. In the thirteenth minute the band ramps up the pace and volume with a kind of "Just a Singer in a Rock 'n' Roll Band" motif within which keyboardist Jürgen Kolb goes a bit wild. Beate makes a final appearance in the final minute to both bring the uptempo passage to a close and then to usher out the song with a dreamy, lullaby-like melody. Wonderful stuff! (27/30)

2. "You and Me" (2:31) in this more traditional folk song Beate's voice sounds years older than her age would suggest--as if a wise woman singing about a long-time relationship. Remarkable. Two (or) more) acoustic guitars entwine their picking for the second half as Beate's lyrics peter out. (8.6667/10)

3. "Somewhere at the End of the Rainbow" (6:26) electric guitar arpeggiates four chords before Beate joins in with a plaintive voice. Accordion-like synth joins in and then bass and drums kick in to support the chorus as Beate drops her pitch a full octave. Wow! That was unexpected. Can this singer be truly only 17-years old? The music is very warm and engaging though not very technically sophisticated, but the vocal performance is remarkable. (8.875/10)

4. "Treary Eye"s (4:17) the guitar opening of this one sounds so British Folk! Very nice. I kept expecting it to slide into a JETHRO TULL song or something from Fairport Convention. When Beate enters her ethereal vocal moves the music more into the realm of the hypnotic Jacqui MacShee. She is a force! An excellent folk song. (8.875/10)

5. "Try a Little Bit" (9:59) the music is perhaps a little simplistic and one-dimensional but the amazingly confident singing of young Beate Krause illustrates how polished and dedicated the band was to its craft and songs. (18.75/20)

Total Time 39:15

A style and sound of Prog Folk that resonates very deeply with me. Ms. Beate Krause (later Sampson) deserves the credit and recognition lauded upon the great British folk sirens of the era.

A minor masterpiece of Prog Folk and one of my favorite Classic Era Prog Folk albums.