This was Trees 1st of only two studio albums that they released. The line-up was Celia Humphris (vocals), Bias Boshell (bass, acoustic guitar and vocals), Barry Clarke (lead and acoustic guitars), David Costa (acoustic and 12 sting guitars – he also produced the stunning cover artwork) and Unwin Brown (drums). This album is split half and half between traditional songs and new songs written by Bias Boshell. These new songs were written in such a brilliant way that they sound as if they were originally written in the 19th century. The treatment of all songs is a beautiful traditional folk sound that develops and turns gradually more electric and at times psychedelic. This latter trait is what clearly differentiates Trees from the normal comparisons with Fairport Convention. Celia Humphris is often compared to Sandy Denny, but on this album, it is worth ignoring comparisons and just admiring the beauty of her haunting vocals, along with the more traditional vocals of Bias. The use of electric guitar is more pronounced than Fairport, especially with fuzz effects. The album starts with the fabulous ‘Nothing special’ which is actually, followed by a great version of ‘The great silkie’. Despite this great start, the band move up another gear to the Boshell written title track, which is just so sad and haunting, that it is immense. Celia’s vocals are absolutely perfect, with moving acoustic guitar and harpsicord backing. The side concludes with the traditional track ‘Lady Margaret’ far more atmospheric than other versions, with a great rock climax. Side 2 kicks off with delicate Scottish Celia vocals supported by drums and claps before being joined by some classic folk rock electric guitar and great 12 string on ‘Glasgerion’. This is followed by the Trees version of ‘She moves thro’ the fair’ which is significantly different to Fairport’s version, with Celia doing a fabulous job with the band bubbling up behind her smoothly and effortlessly. ‘Roads’ is a fabulous upbeat number with some lilting vocals and great fuzz and acoustic guitar, also the drums are spot on. ‘Epitaph’ is another classic track with Melanie like vocals from Celia and great acoustic backing. Lastly comes the ‘Snail’s lament’ which is one of the top tracks on the album. Great duet from Celia and Bias, with some stunning electric guitar and fascinating lyrics from Bias. All in all, this is one of the great albums that failed commercially on release, but has built up a growing reputation as one of the classic forgotten albums. It is now highly collectible and will not disappoint, as it is a brilliant piece of work from start to finish. I absolutely love it – very highly recommended.
