The Chosen Tune Week | ||||
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The Tune for Today is:
Nick Drake - Man in a Shed
Well there was a man who lived in a shed
Spent most of his days out of his head
For his shed was rotten let in the rain
Said it was enough to drive any man insane
When it rained
He felt so bad
When it snowed he felt just simply sad.
Well there was a girl who lived nearby
Whenever he saw her he could only simply sigh
But she lived in a house so very big and grand
For him it seemed like some very distant land
So when he called her
His shed to mend,
She said I'm sorry you'll just have to find
a friend.
Well this story is not so very new
But the man is me, yes and the girl is you
So leave your house come into my shed
Please stop my world from raining
through my head
Please don't think I'm not your sort
You'll find that sheds are
nicer than you thought.
Review by Ned Raggett (allmusic)
It's little wonder why Drake felt frustrated at the lack of commercial success his music initially gathered, considering the help he had on his debut record. Besides fine production from Joe Boyd and assistance from folks like Fairport Convention's Richard Thompson and his unrelated bass counterpart fromPentangle, Danny Thompson, Drake also recruited school friend Robert Kirby to create most of the just-right string and wind arrangements. His own performance itself steered a careful balance between too-easy accessibility and maudlin self-reflection, combining the best of both worlds while avoiding the pitfalls on either side. The result was a fantastic debut appearance, and if the cult of Drake consistently reads more into his work than is perhaps deserved, Five Leaves Left is still a most successful effort. Having grown out of the amiable but derivative styles captured on the long-circulating series of bootleg home recordings, Drake assays his tunes with just enough drama -- world-weariness in the vocals, carefully paced playing, and more -- to make it all work. His lyrics capture a subtle poetry of emotion, as on the pastoral semi-fantasia of "The Thoughts of Mary Jane," which his soft, articulate singing brings even more to the full. Sometimes he projects a little more clearly, as on the astonishing voice-and-strings combination "Way to Blue," while elsewhere he's not so clear, suggesting rather than outlining the mood. Understatement is the key to his songs and performances' general success, which makes the combination of his vocals and Rocky Dzidzornu's congas on "Three Hours" and the lovely "'Cello Song," to name two instances, so effective. Danny Thompson is the most regular side performer on the album, his bass work providing subtle heft while never standing in the way of the song -- kudos well deserved for Boyd's production as well.
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