Jeremy Flies - A Tribute To Nick Drake - 2CD Set

Various artists perform inspired versions of their their favorite Drake Tunes

Previously Only Available On Australian Import, These Two Beautiful Albums Paying Tribute To One Of The Greatest Singer / Songwriters Of All Time Finally Get A UK Release. All tracks produced & engineered by Brendan O'Brien and David Rudder

Disc 1

Black Eyed dog

(originally recorded in February 1974) was amongst the last five tracks that Nick Drake ever recorded. Seen as the darkest of all his songs, a "black eyed dog" was an American Blues reference for trouble and misfortune. The Deadly Nightshades' reading gives Jeremy Flies a rousing beginning , with their hypnotic harmonies, and folk shanty middle eight.

Northern Sky

(originally recorded between February and August 1970 from the album Bryter Layter) was the final vocal track on Nick's second album and regarded by many as his most commercial composition, although it's lyrics are steeped in William Blake's romantic imagery of "Auguries Of Innocence". The song has been used in films, most recently in the American romantic comedy "Serendipity", sung here beautifully by Joy and Lara.

Free Ride

(originally recorded in October 1971, from the album "Pink Moon"). Paul Greene's interpretation of "Free Ride" is a departure from the starkness of Nick's original on his final album. Given a full band treatment, it shows how malleable Nick Darake's song are, and how wide open to interpretation.

Which Will

(originally recorded in October 1971, from the album "Pink Moon") sees Nick Drake as the jilted lover, wistful and unrequited, yet hopeful. Although there is no doubt about Nick's unhappiness in later years, within his music there are bright streams of optimism and belief, accounting perhaps, for the addiction of those faithful to his musical legacy. This exquisite version is by Melanie Horsnell.

Way To Blue

(originally recorded between January and July 1969, from the album "Five Leaves Left") was the first track to be recorded for Nick Drake's debut album that made the final cut. Nick was accompanied by a string quartet, and Robert Kirby's wonderful chamber arrangement. On "Jeremy Flies", the album's originator Raoul Graf pays his own tribute to Nick, with The Deadly Nightshades repeating Robert Kirby's string arrangement with their vocal lines.

Three Hours

(originally recorded in November 1968, from the album "Five Leaves Left") is the track from which the title of this tribute originates. "Three hours from sundown Jeremy Flies" are the opening lyrics to this wonderful song, sung with great gusto for us by Dominique Fraissard. It is claimed that the song is inspired by an old Marlborough School friend of Nicks', Jeremy Mason.

Pink Moon

(originally recorded in October 1971, from the album "Pink Moon") "Saw it written and I saw it say, Pink Moon is on its way". Ian Macdonald, Cambridge friend and acclaimed writer saw Moon Day, as Monday; a song of rebirth. Floyd Vincent stays reverential to the original sound of the title track from Nick Drake's third and final album, although there is more than a trace of flamenco rhythm about this version.

Parasite

(originally recorded in October 1971, from the album "Pink Moon") was actually written before "Bryter Layter" but did not appear until "Pink Moon". It can been seen as a compliment to "At The Chime Of City Clock", both filled with images of London and loneliness. Here Robyne Dunn transposes the music to the piano and presents us with a haunting version.

River Man

(originally recorded in July 1968, from the album "Five Leaves Left") is pictured as Nick Drake's Cambridge song. Written while at the University, it dips and swells from the core of the Cam and swirls around the bitter sweet of both major and minor chord succession. True to the original, without its massive orchestral sweep, Denver takes up the task with great aplomb.

Been Smoking Too Long

(originally recorded in November 1967) is the one track on Jeremy Flies that Nick Drake did not write. His recorded version was a home recording and is found on the rarities album "Time Of No Reply". Written by singer songwriter Robin Frederick, who was romantically linked with Nick shortly before his professional career began, she has maintained that Nick changed some of her original lyrics. On this album, Steve Balbi stays true to Nick's own reading of the song.

At The Chime Of A City Clock

(originally recorded between February and August 1970, from the album "Bryter Layter") encompasses the isolated time that Nick Drake spent while living alone in a bed-sit in Hampstead from late 1969. It is an evocative picture of the landscape of London at night, from the eyes of the "Poor Boy" and "Parasite" that were to feature in future songs. The Fantastic Leslie takes charge of this lighter version.

Fruit Tree

(originally recorded in July 1968, from the album "Five Leaves Left") sung with subtlety and respect by Andy Gordon is possibly Nick Drake's most myth founding composition. Comparing fame to a fruit tree, he eerily concludes "it can never flourish until it's stork is in the ground". Prophetic about his life and more prominently appreciated musical afterlife, or the poetic license of a young and gifted singer songwriter, or both, Nick left behind both a magnificent body of work and an ambiguity and mysticism which, like the "fruit tree" of Nick's fame, continues to grow and grow and grow....

Disc 2

Hanging On A Star

(originally recorded in February 1974) is a track that Joe Boyd has often referred to as the synopsis of Nick Drake's mood of bewilderment at his own lack of success. One of the last songs he wrote sees Nick at his angriest, reflecting some of the more impassioned tirades he made about the perils of his industry at that time, during his short life. Cellar door lends an Indian devotion to the mix.

Day Is Gone

(originally recorded in July 1968, from the album "Five Leaves Left") was the first song Nick Drake played for fellow Cambridge student and musical arranger (to be) Robert Kirby. It has attracted cover versions by Elton John and Norah Jones and here on Jeremy Flies (2) it is afforded the loving attention of The Deadly Nightshades.

Fly

(originally recorded between February and August 1970, from the album "Bryter Layter") was one of the two songs on "Bryter Layter" (the other being "Northern Sky") that captured the attentions of John Cale (late of the Velvet Underground). John worked obsessively over a couple of nights with Nick to flavour the existing songs. On Jeremy Flies, Marty Wilson-Piper (from all about Eve and The Church) stays faithful to the sound that came from their collaboration.

I was Made To Love Magic

(originally recorded in July 1968) was from Nick Drake's very first sessions for Joe Boyd and Witchseason Productions. Unhappy with the orchestral arrangements, this and other early recordings were shelved and Nick moved on (some months later) to what became "Five Leaves Left". The reissued version, rearranged by Robert Kirby was released in 2004 and became Nick's first hit single. Here the album's tireless producer Raoul Graf steps up to the mic.

Time Of No Reply

(originally recorded in December 1968) was from a similar pilot session as "Magic" and found a similar "shelf", although it was one of the four songs Nick Drake recorded in his only session for John Peel in August that year. Tania Bowra's version on Jeremy Flies 2 is evocative of the Autumn feeling of the original.

Cello Song

(originally recorded in July 1968, from the album "Five Leaves Left") brings us back to Nick Drake's first album, and the outstanding opener of side two. The cello on "Five Leaves Left" was played by Clare Lowther. The version here by Lior is more sparse, yet his voice traces the cello line magnificently.

One Of These Things First

(originally recorded between February and August 1970, from the album "Bryter Layter") mulls over reincarnations and indicates a spiritual depth to Nick Drake's lyrics, something that has been a point of critical argument. Most never doubt his guitar-playing prowess but there is a debate about his words; deep or adolescent. There is no debate about their sparkling effect as Joy and Lara joyfully convey.

From The Morning

(originally recorded in October 1971, from the album "Pink Moon") was the astonishingly optimistic opening track from his final album. Troubled and uncertain, "Pink Moon" was 26 minutes of intensity and fragile beauty, yet its conclusion sought a promise of "The Morning". Seemingly for Nick Drake, this was a false dawn, yet Matt Tonks' uplifting version parades the true soul of this miraculous song.

Hazey Jane I

(originally recorded between February and August 1970, from the album "Bryter Layter") Michael Azzopardi slips on the mask of the spurned romantic from Nick Drake's tale of lost love. Featured on the famous Island Records sampler "Bumpers", it may have been seen as a potential single. Its certainly one of Nick's most irresistible songs.

Place To Be

(originally recorded in October 1971, from the album "Pink Moon") John Woods (Drake's sound engineer) remembers that "Pink Moon" was recorded in two overnight sessions October 1971, with Nick insisting that the music was complete in its unadorned state. Its legacy has proved to bear out and endorse Nick's request. Melanie Horsnell's version for Jeremy Flies (2) is as elegant as it is delicate.

Clothes of Sand

(originally recorded in November 1968) was the highlight of the rarities album "Time Of No Reply" released in 1968 on Hannibal and a song that could have happily found a place on any of his three albums. Treated with the tenderness needed, Andy Gordon's version is impeccable.

Things Behind The Sun

(originally recorded in October 1971, from the album "Pink Moon") was amongst the songs that Nick Drake performed at his Queen Elizabeth Hall performance in February 1970, although the song was not committed to tape until the Pink Moon sessions in 1971. That night he shared the billing with John and Beverley Martin. Mick Hart gives a splendid reading.

Saturday Sun

(originally recorded between January and July 1969, from the album "Five Leaves Left") is the closing track, as it was on Nick Drake's first album. The double bass and vibes have gone but the solo piano remains on Eduardo Santoni's version.....It is poignant to end with a song composed by a thoughtful yet playful Nick Drake, not quite on his abrupt journey from wistfulness to melancholy to beyond. The music fan's view, while adoring is hardly ever conscious of the human element and it should never be forgotten that Nick paid the ultimate "human" price for which rose the curious phoenix of his remarkable legend. However, a life often cast as wholly tragic, should not be so blanketed as absolute. Nick's idyllic youth, his musical love, which he shared with his devoted family and the excitement and promise that his music held should never be passed over.....What is absolute is the widening gratitude that is felt all over the world, that this man left us his music.....