Seen by some critics as an about face, a retreat back to American/bluesy material and a callus abandonment of folk baroquery, it was of course nothing of the sort. Although not everything I do is carefully planned there was some method to the supposed madness. ln 1971 it looked as if the old relationship with Transatlantic was coming to an end, after all those years. Unlike a number other artists l actually felt a twinge of approaching nostalgia. Transatlantic had pretty much picked me up off the street, given me a start, and allowed me free rein musically - maybe not intentionally but never the less.
For some reason I thought I would like to go out as I came in - hence the gathering together of musicians of the right quality and even vintage. Dorris had been there at the start. Pete Dyer had been Riviera Mick Rodger's partner who had taught me 'Crying Sometime', sending me down to St Tropez to practically starve. And Sue Draheim, who stayed on to complete the line-up of the John Renbourn Group, fitted right in. We, or certainly I, had a lot of fun making it. Our engineer was the legendary Nick Kinsey up at the equally legendary Livingston studios. The party spirit, which pervades at times, spilled over to to the next sessions which became ' The Lost Sessions.'
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