Release date: June 15, 1971
Label: Vertigo Records
Production: Bill Martin and Phil Coulter
Length: 42:28
Genre: symphonic progressive rock
Rating: 9.5/10
Scottish symphonic prog heroes Beggars Opera will forever be etched among the cult acts of experimental rock, mostly thanks to their first three albums, “Act One” (1970), “Waters of Change” (1971) and “Pathfinder” (1972), because after that things only went downhill, all the way to their breakup in 1980. Over the last decade Beggars Opera have actually been back among us, though hardly anyone knows it. Since 2007 they’ve been extremely active again, in a sonically rather different guise, and their hard-to-find new studio efforts are more or less solid at least, if not good, but the fact remains that the first three Beggars Opera records are still in a class of their own.
The best of them is “Waters of Change”, which holds their most recognizable piece and also their one big hit, “Time Machine”. Thanks to the dramatic, almost troubadour-like vocal presence of charismatic singer Martin Griffiths, who always sounded a bit like the legendary David Byron (Uriah Heep), phenomenal symphonic arrangements by Alan Park and Virginie Scott, Ricky Gardiner’s melancholic guitar harmonies and rhythmic twists courtesy of bassist Gordon Sellar and drummer Raymond Wilson, the song became one of prog’s eternal evergreens.
In this period Beggars Opera further expanded their traditionally rich symphonic arrangements by bringing in Virgina Scott, who joined keyboard ace Park on the Mellotron. Park was a master of the polished use of the Hammond organ, and Scott also played an important role with her backing vocals. The influence of the more established English prog rock champions was noticeable, but by then Beggars Opera had managed to shape a completely distinctive approach to symphonic prog.
The atmosphere of most of the “Waters of Change” compositions was marked by a nostalgic mix of Victorian drama, troubadour-style epicness and primal Celtic melos. The latter, with its Scottish folk influences, comes through nicely on the short instrumental “Lament”, while “I’ve No Idea” is stuffed with epic arrangements, a bravura vocal performance and sweet-sounding harmonies, backed by thick layers of Hammond organ. The occasional instrumental breaks often serve as moments where Gardiner and Park especially can show off their enviable solo chops.
“Nimbus” is a dreamy, ethereal instrumental with plenty of Mellotron waves, while the bouncy, almost playful “Festival”, where a bit of folk influence blows in again, features handclaps right up until the moment a distinctly nostalgic mood takes over. The epic, troubadour-flavored “Silver Peacock”, a real Mellotron feast and a triumph of phenomenal vocal harmonies over a majestic chorus, was another Beggars Opera evergreen and the second-best creation on “Waters of Change” after “Time Machine”. Its mysterious atmosphere and fantasy, “Arthurian” lyrics still win over all fans of symphonic prog marked by wizards, dragons and swords. The short, acoustic instrumental “Impromptu” was a lovely, pastoral-tinged intro to the closing epic “The Fox”. The latter impresses above all with its longer instrumental passages, where gentle symphonic arrangements and thickened bass lines rule, while more aggressive leaps with heavy use of Hammond organ and Griffiths’ energetic vocal performance often give way to nostalgic multi-part harmonies and epic Mellotron waves.
With “Waters of Change”, where every track was crafted with exceptional fire, Beggars Opera created the crown jewel of their discography, an album that can stand up even to the best work of their better-known symphonic prog rock peers. It’s a shame they didn’t know how to make better use of the short-lived success of “Time Machine”. Things might have turned out completely differently for them, and today they could be among the most respected prog rock bands. Sadly, the classic lineup with Griffiths on vocals only held together for the next album, “Pathfinder”, and then came numerous changes and a gradual breakdown of the “system”, which was already obvious on the rather weak “Get Your Dog Off Me!” (1973), where they began losing their creative compass at an ever faster pace.
author: Peter Podbrežnik
tracklist:
1. Time Machine
2. Lament
3. I’ve No Idea
4. Nimbus
5. Festival
6. Silver Peacock (Intro)
7. Silver Peacock
8. Impromptu
9. The Fox
Beggars Opera:
Martin Griffiths – lead vocals, cowbell
Ricky Gardiner – electric and acoustic guitar, backing vocals
Gordon Sellar – bass guitar, acoustic guitar, backing vocals
Alan Park – organ, piano
Virgina Scott – Mellotron, backing vocals
Raymond Wilson – drums, percussion
guest musician:
Marshall Erskine – bass guitar, flute on “Festival”
