Not surprisingly, the debut solo album by the major creative force behind the group Orange Bicycle is similar in nature to the latter group's music. Almost self-consciously pretty in a manner closer to art-rock (or theater music) than psychedelia (despite its richly hued multi-colored cover), the overall feel of the album, between Wilson Malone's introspective vocals and the reed- and horn- dominated accompaniments with low-volume guitar, is somewhere midway between Baroque pop and singer/songwriter-style reflection. It's all rather dark and brooding but also very beautiful in its execution, and filled with haunting melodies and rich timbres, all of this despite the narrow range and limited expressiveness of Malone's voice, which - even with all of the help he seems to get from the studio in this setting - seems to reach only about half-an-octave. You might find yourself thinking of Wil Malone as a British equivalent to David Ackles' American Gothic, which it predated by two years, but that's not a bad benchmark to have hit, even if it didn't bring Malone much success in 1970...[net] ................................ Using simple arrangements of cello, flute bass and acoustic guitar Wil Malone gently recites his fragile pastoral folk-like songs that are embellished with a beautiful production and the odd subtle studio effect (such as on the ghostly and trippy "Love In the Afternoon") A true forgotten classic somewhere in the no man's land between psychedelia and singer songwriter....Here
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