Das Debutalbum von 1968. Ganz ungewöhnlich für die damalige
Zeit: Der Mann hatte die 30 schon überschritten. Was, in punkto Reife,
dem Werk sicherlich zugute kam. Die 5 Musiker stammten von Iron Butterfly,
Buffalo Springfield und Electric Flag und sorgten (stärker als bei
den nachfolgenden LPs) wenigstens bei einigen Stücken für einen
gewissen jedoch nie dominanten Rockeinfluß, im Sinne von Singer-Songwriter-Rock.
Aber selbst dann fasziniert eine ganz eigene besondere songschreiberische
und melodische Note, unorthodox, ungebunden. Psychedelische Untertöne
stehen neben klassischen (Piano-)Balladen, ein markanter tragender Baß
neben schwellenden oder dezenten Orgelflächen, dazu kommen filigrane
frei schwebende Gitarren (etwas ähnlich dem sanften Tim Buckley).
Die fast durchweg langsame, oft leise Musik (häufiger ohne Drums)
läßt ab und zu an Zeitgenossen wie Fred Neil, Randy Newman,
Nick Drake, Scott Walker (oder eben Tim Buckley) denken, behält aber
immer ihre Eigenständigkeit. Großartig!
(Glitterhouse)
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Ackles' self-titled debut LP introduced a singer/songwriter quirky even
by the standards of Elektra records, possibly the most adventurous independent
label of the 1960s. Ackles was a pretty anomalous artist of his time,
with a low, grumbling voice that was uncommercial but expressive, and
similar to Randy Newman's. As a composer, Ackles bore some similarities
to Newman, as well in his downbeat eccentricity and mixture of elements
from pop, folk, and theatrical music. All the same, this impressive maiden
outing stands on its own, though comparisons to Brecht/Weill (in the songwriting
and occasional circus-like tunes) and Tim Buckley (in the arrangements
and phrasing) hold to some degree too. This is certainly his most rock-oriented
record, courtesy of the typically tasteful, imaginative Elektra arrangements,
particularly with Michael Fonfara's celestial organ and the ethereal guitar
riffs (which, again, recall those heard on Buckley's early albums). As
a songwriter, Ackles was among the darkest princes of his time, though
the lyrics were delivered with a subdued resignation that kept them from
crossing the line to hysterical gloom. "The Road to Cairo,"
covered by Julie Driscoll, Brian Auger, and the Trinity, is probably the
most famous song here. But the others are quality efforts as well, whether
the epics tell of religious trial, as in "His Name Is Andrew,"
or the mini-horror tale of revisiting an old home in "Sonny Come
Home." (by Richie Unterberger (AMG))
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