Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Like Tim Buckley, Nick Drake has, in recent years, reached a level of popularity far in excess of anything he achieved during his brief lifetime. This posthumous collection of leftovers, alternate versions and new arrangements - a sort of updated, stand-alone version of the additional disc in the Fruit Tree collected-works box - is a model of how to treat a lost legend, a fourth album fit to stand alongside the three "official" Nick Drake albums. This is largely thanks to the diligence of the arranger Robert Kirby, who has unearthed early recordings from their time together at Cambridge, and added new orchestral arrangements to some tracks - most effectively on "Time of No Reply", to which the orchestration adds a new depth and colour, and a whole new context. Curiously, the same impact is achieved by the absence of orchestration on a newly discovered take of "River Man" featuring just the dark, swirling depths of Drake's precise finger-style guitar picking. Along with the only recently discove
Like Tim Buckley, Nick Drake has, in recent years, reached a level of popularity far in excess of anything he achieved during his brief lifetime. This posthumous collection of leftovers, alternate versions and new arrangements - a sort of updated, stand-alone version of the additional disc in the Fruit Tree collected-works box - is a model of how to treat a lost legend, a fourth album fit to stand alongside the three "official" Nick Drake albums. This is largely thanks to the diligence of the arranger Robert Kirby, who has unearthed early recordings from their time together at Cambridge, and added new orchestral arrangements to some tracks - most effectively on "Time of No Reply", to which the orchestration adds a new depth and colour, and a whole new context. Curiously, the same impact is achieved by the absence of orchestration on a newly discovered take of "River Man" featuring just the dark, swirling depths of Drake's precise finger-style guitar picking. Along with the only recently discovered "Tow the Line", the album includes properly mixed versions of Drake's final four recordings, "Voices", "Hanging on a Star", "Black Eyed Dog" and "Rider on the Wheel", which offer clear indications of Drake's world-weary state at the time: "But take it fast or take it slow/ I must keep up a show/ For the rider on the wheel."
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments