Subtitled ‘Pastoral Psychedelia & Funky Folk’, this three disc anthology from Strawberry Records delves deeply into an era where folk music adopted a more progressive approach, and prog/psych bands weren’t afraid to get whimsical. Although the music within isn’t always easily pigeonholed, the bands and artists featured cross genres and moods freely, in a way that captures a period like no other, mixing folk narratives and very English tones with the worldly haze of a prog rock experimentation and a love of jazz. Without these genre-bending pioneers, John Martyn’s ‘Solid Air’ mightn’t be the much loved masterpiece that it is, and Al Stewart might’ve been forever stuck in a Dylan-esque narrative rut. And that’s just scratching the surface.
The 1960’s spawned a generation of guitarists who paved their way to stardom through vast amount of session work. Arguably the most celebrated of these players are Ritchie Blackmore and Jimmy Page, but for these genuine megastars, there were a legion of other six string heroes who worked every bit as hard – or harder – but never reached “household name” status. Unless you’re the kind of fan who devours sleeve notes and credits with as much enthusiasm as the music itself, names like Clem Clempson, Geoff Whitehorn and Jim Sullivan, for example, might not be too familiar, and yet, if you love 60s, 70s and 80s rock, chances are you own a record or two featuring those guys.
Ray Fenwick is another musician who has maintained a presence for several decades, but has never seemed to get his full due. Beginning as a session man in the 60s, he’s played with some of the greats. ‘Playing Through The Changes’ – a three disc anthology from 2021 – shows off a chunk of his legacy more than admirably, pulling tracks from a very busy career. What it may lack in consistency it makes up for with variety, and unlike so many rock-based anthologies devoted to a singular talent, it doesn’t rely on too many really obvious recordings you’ll own elsewhere – purely because the nature of Fenwick’s work means there aren’t any obvious compilation filling hits and standards. There are a lot of oddities – which aren’t all good, naturally – but, in the main, it’s an enjoyable musical adventure.
Ever since the CD boom of the 90s, the market has been flooded with easily affordable and easily accessible rock compilations. These sets, often adorned by artwork showing a guitar or having a car and open road theme have typically been aimed at the undemanding listener – the kind of person wishing to revisit the classic rock singles of their radio filled youth; the kind of person who’d happily listen to Thin Lizzy’s greatest hits in their car forever. You’d think the market would eventually run out of these people as their target market, and yet year after year, cheap comps featuring Thin Lizzy’s ‘Boys Are Back In Town’, Rainbow’s ‘Since You Been Gone’ and Free’s ‘All Right Now’ seem to fill supermarket shelves continually.