About this product

Product Identifiers

Record LabelGrpf, Grapefruit

UPC5013929184909

eBay Product ID (ePID)23046067089

Product Key Features

FormatCD

Release Year2018

GenreRock

ArtistCome Join My Orchestra: British Baroque Pop Sound

Release TitleCome Join My Orchestra: British Baroque Pop Sound 1967-1973

Dimensions

Item Height0.68 in

Item Weight0.33 lb

Item Length5.40 in

Item Width5.23 in

Additional Product Features

Number of Tracks80

Number of Discs3

Tracks1.1 Come Join My Orchestra - Al Jones 1.2 (Do I Figure) in Your Life - the Honeybus 1.3 Coathanger - Clifford T Ward 1.4 Poor Jimmy Wilson - the Strawbs 1.5 The Better Side - the Freedom 1.6 Acorn Street - Michael Blount 1.7 Flowers Never Blend with the Rainfall - the Toast 1.8 Disappear - Gilbert 1.9 The Sound of the Candyman's Trumpet - Tony Hazzard 1.10 Your Dog Won't Bark - Picadilly Line 1.11 Can't Find Time for Anything Now - John Williams 1.12 Woe Is Love, My Dear - Bert Jansch 1.13 Sandy - the Matchmakers 1.14 Isandula Road - Jonathan Gill 1.15 Am I Very Wrong? - Genesis 1.16 Away, Away - the Money Jungle 1.17 Sticks and Stones - Warm Sounds 1.18 You're Not in My Class - the Alan Bown! 1.19 Melinda (More or Less) - Curved Air 1.20 I'm Going Home - Edward Jenkins 1.21 Don't Try to Explain - Neil MacArthur 1.22 Everyman - Stackridge 1.23 Do You Love Me - Deep Feeling 1.24 Today - Festival 1.25 Private Harold Harris - the Ian Campbell Group 1.26 Not So Young Today - Five Steps Beyond 2.1 Popcorn, Double Feature - the Searchers 2.2 Barterers and Their Wives - the Rockin' Berries 2.3 Justine - Julian Brooks 2.4 Courtyards of Castile - the Bliss 2.5 Mother Dear - Barclay James Harvest 2.6 Competition - the Orange Bicycle 2.7 I See Wonderful Things in You - Mike Batt 2.8 Doris Comes Today - Bill Fay 2.9 Yep - Bridget St John 2.10 This Song Is Green - Billy Nicholls 2.11 Cherrybelle - Chris Neal 2.12 I Could Write a Book - Wil Malone 2.13 Windfall - Offspring 2.14 Poet - Audience 2.15 Dear Amanda - the Regime 2.16 Battle of Trafalgar - John Pantry 2.17 Letters from Her - Forever Amber 2.18 It's Been a Long Time - Andy Ellison 2.19 Fillin' a Gap - Paper Bubble 2.20 Illinois - Nirvana 2.21 Father Dickens - Johnny McEvoy 2.22 A Little Smile on Christmas Morning - the Annie Rocket Band 2.23 He's Very Good with His Hands - Barry Booth ; His Orchestra 2.24 Charlotte Rose - the Majority 2.25 Genevieve - Angel Pavement 2.26 Luskus Delph (Live with Edmonton Symphony Orchestra) - Procol Harum 2.27 The Answer Is - Marc Brierley 3.1 Saturday - Fickle Pickle 3.2 Writer in the Sun - Donovan 3.3 A Rose for Emily - the Zombies 3.4 Rick Rack - the Humblebums 3.5 She Sang Hymns Out of Tune - the Freshmen 3.6 Broken Bicycle - Kes Wyndham 3.7 Cloudy - the Factotums 3.8 I'll Keep Smiling - Simon, Plug ; Grimes 3.9 Mist on a Monday Morning - the Move 3.10 Strange People - the U-No-Who 3.11 If I Thought You'd Ever Change Your Mind - Edwards Hand 3.12 Picture on the Wall - Clive Sands 3.13 New Kind of Feeling - Lea Nixon 3.14 Only Fooling - Chris Baker 3.15 Mrs Richie - Harmony Grass 3.16 Rosemary - a. ; a. North 3.17 Row Row Row - Peter Sully 3.18 Time Seller (Single Version) - the Spencer Davis Group 3.19 Thoughts on a Rainy Day - Katch 22 3.20 Tuesday - the Mellow Yellow 3.21 This Little Man - Grapefruit 3.22 Face in My Window - Sheridan/Price 3.23 Smokey Blue's Away - Muffin 3.24 Breakfast - Richmond 3.25 All My Life - Agincourt 3.26 Shades and Shadows - Elliot Mansions 3.27 Goodbye - John George

NotesUK three CD set. When Paul McCartney - who arguably kick-started the whole baroque pop genre when he recorded the likes of 'Yesterday' and 'Eleanor Rigby' with pivotal strings arrangements - made his oft-quoted remark that pop was the classical music of the 20th Century, perhaps he meant it in a more literal sense than anyone realized at the time. In the immediate wake of ground-breaking albums like Rubber Soul, Revolver and Pet Sounds, the British and American music scenes became increasingly ambitious and cerebral. As the major recording studios becoming ever more sophisticated, a new generation of musicians and producers sought to emulate the backroom auteur status of Brian Wilson or the symbiotic relationship between George Martin and The Beatles. A new, more melancholic strain was introduced into British pop: expansive orchestral arrangements merged with the burgeoning psychedelic mind-set to create such studio-bound masterpieces as Days Of Future Passed and (of course) Sgt Pepper, with harpsichords, oboes, flutes, recorders and French horns providing a moody, introverted chamber pop flourish. Wilson and The Left Banke led the way in the US, but Britain was also awash with acts mining the baroque pop seam. Honeybus, The Zombies, Donovan, Nirvana and many others made significant recordings in that field, fusing mournful minor chord melodies with fey vocals, ornate arrangements and what had previously been considered non-rock instrumentation. Come Join My Orchestra covers British baroque pop's formative years and it's integration into a wide variety of genres, ranging from Johnny McEvoy's exquisitely sculpted take on traditional pop balladry and a clutch of dyed-in-the-wool folkies (Ian Campbell, Bert Jansch etc) to McCartney acolytes (Fickle Pickle, Mike Batt, the Gerry Rafferty-led Humblebums) and symphonic/art rock bands like Procol Harum and Barclay James Harvest. With a lavish 40-page booklet, many recordings making their first appearance on CD and two tracks (by The Regime and The Mellow Yellow) gaining their first-ever release, Come Join My Orchestra is a fascinating overview of what was a major development in late Sixties pop music, and one that reverberates to this day.