01	Poet and Peasant						07:12
	02	Passacaglia						07:06
	03	Memory						03:58
	04	Raymonds Road						11:50
	05	Light Cavalry						11:56
	06	Sarabande						03:34
	07	Think						04:25

Beggar's Opera


Personnel:
Marshall Erskine - Bass, Flute
Ricky Gardiner - Guitar, Vocals
Martin Griffiths - Vocals, Percussion
Alan Park - Keyboards
Raymond Wilson - Drums
Gordon Sellar - Bass, Guitar, Vocals
Virginia Scott - Keyboards, Vocals

Albums:
Act One (Vertigo 6360 018) 1970 (Repertoire CD Reissue, 1997, REP 7041-WP)
Waters Of Change (Vertigo 6360 054) 1971 (Repertoire CD Reissue, 1995, IMS 7029)
Pathfinder (Vertigo 6360 073) 1972 (Repertoire CD Reissue, 1995, IMS 7028)
Get Your Dog Off Me (Vertigo 6360 090) 1973
Saggitary (1974 Germany Jupiter 88907)
Beggars Can't Be Choosers (1979 Germany Jupiter 27702)
Lifeline (1980 Vertigo Germany 6350060)

45s:
Sarabande/Think (Vertigo 6059 026) 1970
Hobo/Pathfinder (Vertigo 6059 060) 1972
Two Timing Woman/Lady Hell Of Fire (Vertigo 6059 088) 1973
Classical Gas/ Sweet Blossomed Woman (Vertigo 6059 105) 1974




A Glasgow-based band who signed to the progressive Vertigo label. They specialised in flashy instrumentation but were somewhat short on melody. Overall, the "Act One" album attempted to fuse classical and post-psychedelic progressive rock. They also had a big Continental hit with the non-album 45, "Sarabande". Their next album effort, "Waters Of Change", is usually considered a progression on their first effort. It is similar in style, possibly less frantic. "Pathfinder" contained a superb cover version of Richard Harris's "MacArthur Park", which was probably its highlight. By now they had discarded their earlier keyboard-dominated sound for West Coast influenced harmonies. "Get Your Dog Off Me" was a very disappointing effort and after four years and little success they split in 1974.

In the mid-seventies Gordon Sellar reformed the band and they recorded a couple of German-only albums. Ricky Gardiner also toured with David Bowie in this era.

Taken from The Tapestry of Delights - The Comprehensive Guide to British Music of the Beat, R&B, Psychedelic and Progressive Eras 1963-1976, Vernon Joynson ISBN 1 899855 04 1


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It is a bold step for any aspiring rock band to tackle the works of a great classical composer, especially on their first album. However, Beggars Opera were always brave and adventurous, both in their choice of material and musical philosophy. Whether performing original songs or applying their arranging skills to the compositions of others, this highly esteemed progressive group could always be relied on to deliver diverse and satisfying sounds.

The band were signed to the Vertigo label in 1970, which, like EMI's Harvest, was intended to be a haven for the ambitious and musically adventurous. The group came from Scotland and arrived on the scene at a time when bands like Yes, Genesis, Jethro Tull and ELP were pushing forward the boundaries of rock. It was perfectly acceptable to mix elements of classical music, folk, jazz and rock in the spirit of adventure that prevailed after The Beatles had set so many trends in the Sixties. Even Led Zeppelin, kings of hard rock, were eager to experiment, as their extensive use of Eastern sounds and acoustic guitars confirmed.



Vertigo, with its famous spiral label, provided a healthy environment for equally adventurous groups like Colosseum and Manfred Mann's Chapter Three. In this productive atmosphere it was appropriate for Beggars Opera to adopt a sophisticated musical policy. This commitment to excellence would flower over a succession of albums in which the band's style would perceptibly alter with their changing moods and ideas.

The band's line-up consisted of Martin Griffiths (lead vocals), Alan Park (organ, piano), Ricky Gardiner (lead guitar, vocals), Gordon Sellar (bass, acoustic guitar, vocals), Ray Wilson (drums) and on occasion Virginia Scott (mellotron and vocals). Griffiths had a particularly attractive, unpretentious vocal style, usually complemented by the alternately rhapsodic and funky keyboard work of Alan Park. Ricky Gardiner's guitar worked very well within the context of the arrangements and he was capable of biting, nimble solos. The rhythm section was unusually subtle and drummer Ray Wilson was a crisp and natural player.



While the group lacked the kind of mass acceptance that pushed Genesis into the super league, they had many loyal fans and Beggars Opera were clearly a band with enormous potential. They took their name from the well-known and highly successful play by the English poet John Gay. Written in 1728, The Beggar's Opera earned the composer the sum of BP l,000, a fortune by 18th Century standards. Alas, like many a 20th century rock musician, Gay lost most of his money in ill-advised speculation involving the financial crash known as the South Sea Bubble.

'Act One', the band's debut album, was released in 1970 and impressed with its blend of artistry and blend of influences. One of the highlights was their clever arrangement of Suppe's popular 'Poet And Peasant Overture'. The original work is rich in contrasts and has a witty and emotional exuberance that makes it an irresistible climax to any concert of popular classics. One critic remarked that "The Peasant suffers from Suppe's congenital inability to stop!" It certainly makes a useful vehicle for a modern rock group.

It's a wonder it wasn't also covered by Keith Emerson of ELP, famed for his dynamic treatment of the classics. The composer Franz von Suppe was born at sea, and was very much a European citizen. He had an Italian mother, a Belgian father and became an Austrian citizen. He wrote some 21 operettas and 180 ballets and vaudevilles, but the 'Poet And Peasant' and 'Light Cavalry', which also gets the Beggars Opera treatment, are among his best - remembered pieces.



As well as the original album tracks, 'Passacaglia', 'Memory' and 'Raymond's Road', we have added the band's 1971 single release 'Sarabande'. A Sarabande, incidentally, is an stately court dance of the 18th century, usually performed in slow triple time. Coupled with 'Think', it gives an insight into the band's musical capabilities and broad tastes. After the success of 'Act One', Beggars Opera went on to produce several more fine, albums including 'Waters Of Change' (Vertigo) in 1971, which saw the arrival of Virginia Scott on the mellotron. The mellotron was an early attempt at a sampling machine. Tape loops of pre-recorded strings stored inside the machine could be activated by a keyboard, which produced a haunting sound beloved by The Moody Blues and Genesis. There was a touch of mellotron on the band's celebrated version of Jim Webb's 'MacArthur Park', featured on their third album, 'Pathfinder' (Vertigo) released 1972. This poignant epic was a huge hit for actor Richard Harris in 1972. Both these vintage albums are now available on Repertoire CDs and are well worth seeking out.

As the Seventies progressed, Beggars Opera remained busy in the studios and released another album, 'Get Your Dog Off Me' (Vertigo) in 1973, which saw the return of Virginia Scott, on her trusty mellotron. 'Sagittary' was issued on the Jupiter label in 1974 and the band's final efforts, 'Beggars Can't Be Choosers' (Jupiter) and 'Lifeline' (Vertigo) were released in 1979 and 1980 respectively. By the end of the Seventies, the heyday of progressive rock was largely over, submerged by the arrival in turn of punk, heavy metal and techno. But the band's music as revealed on this excellent CD, still sounds fresh today. Hark, hark - the Beggars are singing for their Suppe!

CHRIS WELCH, London, 1997



Taken from the Repertoire reissue of "Act One", 1997, REP 7041-WP



Beggar's Opera - "Act One" (1970)
One of the classic Early British progressive rock bands in the style of Cressida and Spring. As the title suggests, this was their first album, consisting of 5 long tracks. But I do in fact like the shortest track, "Memory" best, with its almost folky feeling and irresistible early 70's arrangement. But most of the other tracks are good too. Some passages take some classical themes into the songs. You can hear this on both "Poet and Peasant" and "Light Cavalry". Both these are good progressive rock tracks, but I'm not too sure if I like the circus-styled organ sound they were using at this time. The weakest track here is probably "Raymonds Road", a jam that sounds like something The Nice could have done live in the late 60's. A nice album, but not BO's best.





Beggars Opera


Discography

Act One (1970)
Waters of Change (1971)
Pathfinder (1972)
Get Your Dog Off Me! (1973)
Sagittary (1974)
Beggars Can't Be Choosers (1979)
Lifeline (1980)

Singles & EPs
"Sarabande"/"Think" (1970)

A Beggars Opera Fan Page http://www.geocities.com/%7Euheep4/bo.htm

Country of origin: Scotland
Established: 1969
Prog Sub-Genre: Early Symphonic/Proto-Progressive




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]

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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 naivete 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]

1. Poet and Peasant - 7:11
2. Passacaglia - 7:04
3. Memory - 3:56
4. Raymond's Road - 11:49
5. Light Cavalry - 11:55

Bonus Tracks

6. Sarabande - 3:32
7. Think - 4:25

Ricky Gardiner - Guitar
Alan Park - Keyboards
Marshall Erskine - Bass, Flute
Martin Griffiths - Vocals
Raymond Wilson - Drums, Percussion

Repertorie Records - REP 7041-WP - 1997
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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]


1. Time Machine
2. Lament
3. I've No Idea
4. Nimbus
5. Festival
6. Silver Peacock
7. Impromptu
8. The Fox

Ricky Gardiner - Guitar
Alan Park - Keyboards
Marshall Erskine - Bass, Flute
Martin Griffiths - Vocals
Raymond Wilson - Drums, Percussion
Virginia Scott - Mellotron, Vocals

Repertoire Records - IMS 7029 - 1995

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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]


1. Hobo
2. MacArthur Park
3. The Witch
4. Pathfinder
5. From Shark to Haggis
6. Stretcher
7. Madame Doubtfire

Ricky Gardiner - Guitar
Alan Park - Keyboards
Marshall Erskine - Bass, Flute
Martin Griffiths - Vocals
Raymond Wilson - Drums, Percussion
Virginia Scott - Mellotron, Vocals

Repertoire Records - IMS 7028 -1995