The first track on Drake’s first official LP left no doubt we were in the presence of a rarefied talent, albeit with little apparent clue, either, of the inner struggles soon to surface. One of a batch of his earliest songs written during the Aix-en-Provence interlude – as Drake honed his guitar technique before the cares of expectation began to weigh heavily
– it is reflective and romantic, while offering
a large hint that here is someone struggling with their sexuality (“Leave the ways that are making you love/What you really don’t want to love”). Which all provides a new layer of mystery and intrigue regarding his seeming
lack of a love life. A nigh-on perfect arrangement vindicates Joe Boyd’s decision to bring in American pianist Paul Harris, along with the guile of two other empathetic instrumental masters, Fairport Convention guitarist Richard Thompson and Pentangle’s stand-up bass player Danny Thompson, who provide warmth and succour.
– it is reflective and romantic, while offering
a large hint that here is someone struggling with their sexuality (“Leave the ways that are making you love/What you really don’t want to love”). Which all provides a new layer of mystery and intrigue regarding his seeming
lack of a love life. A nigh-on perfect arrangement vindicates Joe Boyd’s decision to bring in American pianist Paul Harris, along with the guile of two other empathetic instrumental masters, Fairport Convention guitarist Richard Thompson and Pentangle’s stand-up bass player Danny Thompson, who provide warmth and succour.
0 comments:
Post a Comment
Note: Only a member of this blog may post a comment.