Desiree Barclay

The group's first album for Polydor is several steps above their EMI work. Most of the psychedelic-era influences are softened here and broadened, and transmuted into something heavier and more serious, even as the Beatlesque harmonies remain intact. The guitars sound real heavy, almost larger than life here, while the swelling Mellotron and synthesizer sounds give the music the feel of an orchestra. By this time, the group had also mastered the Pink Floyd technique of playing pretty tunes really slowly, which made them sound incredibly profound (it's actually a technique that goes back, in different forms, to Gustav Mahler and Anton Bruckner). John Lees gives superb, virtuoso performances on lead guitar on "Paper Wings" and "For No One."

BBC in Concert is one of those miraculous archival finds that one just can't anticipate and dares not hope for. Apart from Yes (always the exception to a lot of rules), very few progressive rock bands managed to get themselves recorded live under optimum conditions, much less so early in their careers…

This double-live CD, made on BJH's last tour with Wooly Wolstenholme, is one of the better live albums to come out of the progressive rock genre. Though not as exciting as Genesis Live or as majestic as Yessongs, it shows the group in excellent form, playing and harmonizing beautifully and doing many of their best songs, among them "Child of the Universe," "Rock and Roll Star," "Poor Man's Moody Blues," "For No One," and "Mockingbird" (the latter never sounded more beautiful)…

Punk's rise in Britain seemed to be leading to the demise of Barclay James Harvest, the fate awaiting so many of the island's veteran rock bands. Although 1976's Octoberon had finally pushed the band into the U.K. Top 20, it was all downhill from there, as the group's follow-ups in 1977 and 1978 landed ever lower in the listings, something that Barclay James Harvest's shift to a brighter, more American sound did nothing to prevent…

Time Honoured Ghosts continued Barclay James Harvest's development away from the orchestral sweep of the earlier albums, although there's a little more filler than usual here. "In My Life" emphasizes BJH's penchant for ghostly descending vocal choruses and features an angular lead guitar part that would be recycled several years later in "Loving Is Easy."…

The group's first album for Polydor is several steps above their EMI work. Most of the psychedelic-era influences are softened here and broadened, and transmuted into something heavier and more serious, even as the Beatlesque harmonies remain intact…

A t this stage, the "show" was relegated to a continental cult of listeners whose musical tastes belonged to a bygone era. And it was for them that BJH continued to release fresh works every year or so, covering familiar ground while availing themselves of what new bells and whistles they could lay their hands on. "Welcome To The Show" sounds modern by BARCLAY's outmoded standards, suggesting any number of artists whose prog sensibilities had long since succumbed to the allure of well-crafted albeit timid pop music (e.g., Mike + The Mechanics)…

With Wolstenholme's keyboards pushed back in the mix, and strangely missing the harmonies that enriched their earlier work, Octoberon is something of a departure for the band. While Wolstenholme's stately "Ra" shows a dabbling in mysticism and the soaring sound of their previous work, most of the album is a strangely glum affair…

"Turn of the Tide" is BJH's second album following the departure of founding member Woolly Wolstenholme in 1979. Woolly was one of three writers in the band, with leanings towards classical music, and had brought that influence to bear on BJH's sound, particularly on their first four albums…

Based very loosely around the motif of literary genres (science fiction, fantasy, classics, etc.), XII shows Barclay James Harvest following many other progressive bands in the late '70s with slicker production and simplified song structures…