Son Of Anastasia (CD) ~ Jimmy Campbell (Artist) Cover Art

Son Of Anastasia (CD)

By: Jimmy Campbell (Artist)

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Product Description

Track Listing

DISC 1 for Son Of Anastasia (CD) Album By Jimmy Campbell (Artist)
1   When I Sit Down To Reason  
2   Mother's Boy  
3   Another Vincent Van Gogh  
4   Penny In My Pocket  
5   Bright Side of the Hill  
6   Dear Marge  
7   Lyanna  
8   They All Came Marching Home  
9   On a Monday  
10   Lovelty Elisa Cope is Dead  
11   You'll Break My Heart In Two  
12   Tremendous Comercial Potential  
13   Adran Henri's Party Night  
14   Another Springtime's Passed Me By  
15   Micaelangelo  
16   Painting a Song  
17   Frankie Joe [Bonus]  
 

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Review

Record Collector (magazine) (p.80) - 4 stars out of 5 -- "Campbell's magical debut, SONG OF ANASTASIA, impressively captures the uniquely resonant repertoire of impressionistic and deeply personal songs..."

Review

Record Collector (magazine) (p.80) - 4 stars out of 5 -- "Campbell's magical debut, SONG OF ANASTASIA, impressively captures the uniquely resonant repertoire of impressionistic and deeply personal songs..."

Title Note

Audio Remasterer: Paschal Byrne.

Photographer: Johnny Clamp.

Although Jimmy Campbell's 1969 LP Son of Anastasia was his first full-length release, he'd been on the Liverpool rock scene since the mid-'60s as part of the Merseybeat band the Kirkbys, and then the more psychedelic outfit 23rd Turnoff. While Son of Anastasia contained a few songs he'd recorded in released and unreleased versions in the 23rd Turnoff days in 1967, it was a marked change in direction for Campbell, in his style if not his songwriting. For Son of Anastasia is largely a folky, acoustic album, occasionally venturing into orchestrated folk-pop, even if Campbell is more a pop/rock songwriter than a folk one. Campbell's slightly moody yet catchy melodies, as well as his drolly understated lyrics, mark him as perhaps the best '60s Liverpool rock songwriter never to have a chart record; his likably fragile voice can sound like a cross between Robin Gibb and Cat Stevens, with perhaps a pinch of post-'60s Marianne Faithfull scratchiness. It's an attractively introspective record laced with some bittersweet irony, but the combination of bare-bones and lightly orchestrated arrangements doesn't always ideally suit the material. Some of the songs with nothing or little more than guitar backing sound a little like demos that could have done with fuller treatments; the ones with orchestral arrangements are sometimes a bit dated, and, in the case of "On a Monday," more than a little derivative of Bobbie Gentry's "Ode to Billie Joe." Worse, occasionally riffs are taken by what sound like either kazoos or someone (Campbell?) trying to imitate a trumpet with mouth noises, which not only adds an unappetizingly vaudevillian flavor, but leaves the impression that there wasn't enough budget allotted for proper instrumentation. Still, most of the songs here are good, particularly the arch but quite catchy "Another Vincent Van Gogh" (the track that comes closest to actual folk-rock), "Lyanna," and "Lovely Eliza Cope Is Dead" (where the early Cat Stevens similarity is strongest). Best of all is the gloriously melancholy "Michaelangelo," which Campbell had done in an all-out psychedelic version of part of 23rd Turnoff, but which sounds quite lovely as a stripped-down acoustic tune here. ~ Richie Unterberger

Album Description

Although Jimmy Campbell's 1969 LP Son of Anastasia was his first full-length release, he'd been on the Liverpool rock scene since the mid-'60s as part of the Merseybeat band the Kirkbys, and then the more psychedelic outfit 23rd Turnoff. While Son of Anastasia contained a few songs he'd recorded in released and unreleased versions in the 23rd Turnoff days in 1967, it was a marked change in direction for Campbell, in his style if not his songwriting. For Son of Anastasia is largely a folky, acoustic album, occasionally venturing into orchestrated folk-pop, even if Campbell is more a pop/rock songwriter than a folk one. Campbell's slightly moody yet catchy melodies, as well as his drolly understated lyrics, mark him as perhaps the best '60s Liverpool rock songwriter never to have a chart record; his likably fragile voice can sound like a cross between Robin Gibb and Cat Stevens, with perhaps a pinch of post-'60s Marianne Faithfull scratchiness. It's an attractively introspective record laced with some bittersweet irony, but the combination of bare-bones and lightly orchestrated arrangements doesn't always ideally suit the material. Some of the songs with nothing or little more than guitar backing sound a little like demos that could have done with fuller treatments; the ones with orchestral arrangements are sometimes a bit dated, and, in the case of "On a Monday," more than a little derivative of Bobbie Gentry's "Ode to Billie Joe." Worse, occasionally riffs are taken by what sound like either kazoos or someone (Campbell?) trying to imitate a trumpet with mouth noises, which not only adds an unappetizingly vaudevillian flavor, but leaves the impression that there wasn't enough budget allotted for proper instrumentation. Still, most of the songs here are good, particularly the arch but quite catchy "Another Vincent Van Gogh" (the track that comes closest to actual folk-rock), "Lyanna," and "Lovely Eliza Cope Is Dead" (where the early Cat Stevens similarity is strongest). Best of all is the gloriously melancholy "Michaelangelo," which Campbell had done in an all-out psychedelic version of part of 23rd Turnoff, but which sounds quite lovely as a stripped-down acoustic tune here. ~ Richie Unterberger

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