Biography
Beggars Opera were
one of the best groups of the early British symphonic style,
characterized by the likes of Spring, Fantasy and Cressida.
Whereas some of their peers had a tendency to be overly concerned
with pop melodies at the expense of instrumental depth, Beggars
Opera were able to successfully meld the two, thanks in large
part of Alan Park's distinctive organ and keyboard, as well
as Rick Gardiner's biting guitar. As part of the legendary
Vertigo label, the first incarnation produced a number of solid
albums, and at least one true classic in 1971's Waters of
Change. Lacking commercial interest, they broke up after
the disappointing Get Your Dog Off Me!. Gardiner
and keyboardist Virginia Scott continued with the Beggar's Opera
name and released a further two albums, Sagittary and
Beggars Can't Be Choosers on the German label, Jupiter.
The Beggars Opera name was revived again in the late 70s by
Gordon Sellar for an album entitled Lifeline. Apparently
these later albums have little to do with the original vision
of the band, and it's best to stick with one of the first three
releases. -
Greg Northrup [January 2002]
Act
One (1970)
Beggars Opera's
debut album introduces them as a major player in the early British
symphonic scene. Like many bands of the era, the music had a
post-psychedelic, pop/folk vibe, though Beggars Opera added
a flashy, complex instrumental underpinning. On Act One,
Alan Park's organ and keyboards are particularly dominant, often
reminiscent of Emerson, Lake & Palmer or the Nice in their bombast
and affinity for classical quotations. However, a sense of humor
and irreverence pervades the album, making the whole affair
far less pretentious. Martin Griffith's powerful, strident vocal
style is particularly striking, though the melodies he would
have to work with are not as strong here as they would be on
the follow-up, Waters of Change.
"Poet and Peasant"
is an ideal opener, bowling the listener over with driving,
up-tempo rhythms, flashy organ and memorable vocal melodies.
"Passaglia" begins with another promising vocal part, but shifts
its attention to an instrumental jam highlighted by some searing
guitar work courtesy of Gardiner. For me, tracks like the 10
minute instrumental "Raymond's Road" tend to bog down the affair,
being a little heavy on wanky ELP-ish playing and tacky, easily
recognizable classical motifs, although it has its moments.
Indeed, although the album isn't by any means a "mature" work,
what primarily draws me to the band here is their naiveté and
humor, and the album is nothing if not fun and enjoyable. "Light
Cavalry" however, is a rousing closer and foreshadows the addictive
melodicism of the subsequent album. Although the songs themselves
would get better on Waters of Change, Act One
remains a solid debut from the band. As a bonus, the two cuts
from their "Sarabande" single are included on the Repertoire
reissue, both great songs that make the overall package much
more attractive above the album proper. - Greg Northrup [January
2002]
Click
Here for Tracklist and Lineup Info
Waters
of Change (1971)
The
second album from the seminal Scottish group Beggars Opera is
probably their best, as Waters of Change shows a significant
maturation in the songwriting department, and for the most part
eschews the classical rock, over-the-top organ bombast of Act
One. Rather, the album is more restrained and melodic, though
falling shy of the nondescript "pop music with mellotron" of
some of their contemporaries. The album balances complexity
and instrumental flair with solid songwriting and addictive
melodies, as Alan Park's obviously virtuosic organ playing and
Gardiner's fleet fingered, surreal guitar subsume themselves
to the greater goal of the song, as it should be.
Although often
thought of as a "mellotron album", the instrument is not nearly
as dominant as I'd expected, and is ultimately outgunned by
the main melodic device, the organ. Still, the 'tron contributes
mightily to the album's warm, earthy air. Another highly appealing
aspect of the band's work here are Martin Griffiths' vocals.
Now, I'm a sucker for eccentric vocalists, and this guy definitely
kills me. His powerful, some might say over the top, pipes really
carry the main themes perfectly in my opinion. The melodies
are pretty much universally addictive and enjoyable throughout,
from the semi-melancholy "Time Machine" to the humorous faux
medieval jig of "Festival" to the grandiosity of "Silver Peacock".
Indeed, for a song based, light hearted and melodic early progressive
rock album, one would be hard pressed to come up with a better
example than Waters of Change. Everything the band set
out to do they seem to have achieved with startling success.
Warm and endearing to the last, this is one of the finest albums
from this particular era and sub genre. - Greg Northrup [January
2002]
Click
Here for Tracklist and Lineup Info
Pathfinder
(1972)
Pathfinder
is a step down from the previous two albums, but is still
a required addition for fans of the band. Continuing
with the song-oriented style of their classic, Waters of
Change, the album retains the band's stylistic trademarks;
deceptively simple, catchy melodies atop a bed of warm organ
and nimble, tastefully placed guitar. Unfortunately,
it says something that the best song on here is a cover, albeit
a gorgeous rendition of Richard Harris' "MacArthur Park".
Sure, this may scream "cheese" to some of you, but given Beggar's
Opera already established penchant for tongue-in-cheek dramatics
and endearing melancholy, the song fits into their style just
fine, thank you. Originals such as "The Witch" and,
in particular, "Madame Doubtfire" find the band chugging along
on up-tempo rockers with some killer hooks. Other spots
on the album are less strong. Opener "Hobo" is plagued
by some goofy lyrics, while the title track and "From Shark
to Haggis" slip by largely unnoticed, being relatively pedestrian.
Overall Pathfinder is a solid recommendation for those
who have and enjoy the first two albums, but prospective buyers
will want to start with Waters of Change or Act
One.
- Greg Northrup [January 2002]
