Barclay James Harvest Album Mappe

Barclay James Harvest Album Mappe

Turn Of The Tide

Turn Of The Tide album cover

LP: Polydor 2383 608, Mai 1981
MC: Polydor, Mai 1981
CD: Polydor 800 013-2, Mai 1983


Seite 1
Waiting On The Borderline (Les Holroyd)
How Do You Feel Now? (John Lees)
Back To The Wall (Les Holroyd)
Highway For Fools (John Lees)
Echoes And Shadows (Les Holroyd)

Seite 2
Death Of A City (John Lees)
I’m Like A Train (Les Holroyd)
Doctor Doctor (John Lees)
Life Is For Living (Les Holroyd)
In Memory Of The Martyrs (John Lees)



Aufnahmedetails

Aufnahmestudio:
Marcus Music, London (außer "Life Is For Living", das am 12. September 1980 bei Polygram aufgenommen wurde)

Aufnahmedatum:
September 1980 bis März 1981

Produzent:
Barclay James Harvest und Martin Lawrence

Toningenieur:
Martin Lawrence, assistiert von Liz Biddiscombe



Titel

Kommt vom Text von "Back To The Wall":

  He’s been waiting on the other side,
  He’s been waiting for the turn of the tide

Die Wahl des Titels zeigte auch einen Optimismus für die Zukunft, daß die Zeit des Pechs, das die Band in den Siebzigern fast erdrückt hatte, begonnen hatte, sich zu ihren Gunsten zu wenden.



Hülle

Die Direktion war von Alwyn Clayden, aber Photo und Design, die den Titel so passend illustrierten, waren von Bob Carlos Clarke, damals relativ unbekannt, aber jetzt einer der bekanntesten Portrait- und Modephotographen der Welt. Die Vorder- und Rückseite der einfachen Hülle sind Spiegelbilder, sowohl direkt als auch metaphorisch; sie zeigen ein ausgedörrtes Stadtbild, das vorne in der Hitze verschwimmt, und dieselbe Landschaft verkehrt auf der Rückseite, diesmal überflutet und mit schweren Gewitterwolken darüber. Erinnerungswürdiger Einfallsreichtum, komplett mit dem obligatorischen Schmetterling, der die Hülle unter den Fans sehr beliebt gemacht hat.



Gastmusiker

Kevin McAlea erscheint zum zweiten Mal auf einem BJH-Album und hilft bei den Keyboards, und der neue Junge auf Turn Of The Tide war Colin Browne mit Gitarren, Baß, Keyboards und Chorgesang. Colin hatte schon auf der ‘80er Tour und beim Berlin-Konzert live mit BJH gespielt, es war also ein natürlicher Fortschritt, daß er auch auf dem neuen Album spielte.


Waiting On The Borderline

Les’ Auftakt geht um Schmerz und Beschuldigungen am Ende einer Beziehung. Der wiederholte Rhythmus und die Keyboards vom Gastmusiker Kevin McAlea geben dem Song ein hypnotisches Gefühl.

Text:
Going down with a troubled mind
You leave me waiting on the border line
I'm thinking it's a waste of time
Taking me for a ride
You say that you're good for me
Was a time when I'd let it be
But now there's no reality
Do you think that I' m blind?

Get back to your own side of the highway
You're straying across the line
I know you're a heart breaking lover
Isn't any other time to take a ride
Get back in the long grass
Get back to the street
Go take another walk
Don't bother me

Good loving is hard to find
You keep playing the same old rhyme
Got the feeling that you're gonna be
Travelling down the line
You play in another key
Go tell your friends that I set you free
I know the way it used to be
Watching you hitch a ride

Get back to your own side of the highway
You're straying across the line
I know you're a heart breaking lover
Isn't any other time to take a ride
Get back in the long grass
Get back to the street
Go take another walk
Don't bother me

[Les Holroyd, © St. Annes Music]


How Do You Feel Now?

Einer von Johns persönlichsten, autobiographischen Songs, geschrieben über die Geburt seiner Tochter Esther im Juli 1980, und er bleibt einer seiner liebsten. Die Klavierbegleitung gibt dem Text Prominenz, und die Gefühle werden mit wirksamer Einfachheit wiedergegeben, obwohl John einmal sagte, daß er fühlte, sein Vortrag sei dem Song nie gerecht geworden.

Text:
How do you feel now
We've got a reason to go on
Newly born
Seems like I've waited for a lifetime
But honey I believed in you

When I saw her face I had to cry
I don't know why
Is she real?
Seems like I've waited for a lifetime
But honey I believed in you
To make my dreams all come true
We've got a child

I tried and tried to talk it over
Seemed like we'd waited a million years
Then you conceived our child was born
And we were one
Picked her up put her by your side
Saw the smile that you couldn't hide

I tried and tried to talk it over
Seerr.ed like we'd waited a million years
Then you conceived our child was born
And we were one
Picked her up put her by your side
Saw the smile that you couldn't hide

How do you feel now
We've got a reason to go on
Newly born
Seems like I've waited for a lifetime
But honey I believed in you
To make my dreams all come true
We've got a child

[John Lees, © St. Annes Music]


Back To The Wall

Außer der Tatsache, daß er den Albumtitel lieferte, wurde dieser Song anscheinend von der Berliner Situation und dem Gratiskonzert der Band dort inspiriert. Es ergibt einen Doppelsinn, denn "mit dem Rücken zur Wand stehen" heißt, in einer aussichtslosen Situation zu sein, während die Band beim Konzert tatsächlich mit dem Rücken zur Berliner Mauer stand.

Text:
Stranger at the gate let him in
Stranger at the gate let him in
Stranger at the gate let him in
Won't you let him in

He's been waiting on the other side
He's been waiting on the other side
He's been waiting for the turn of the tide
Won't you let him in

Promises leave you with nothing to show
Destiny leaves you with nowhere to go

Back to the wall
Have you seen the light?
Is your soul worth saving?
Back to the wall
Can you pay the price
Then your life is waiting

Down by the shore
We can help you no more
Standing with our back to the wall

Is your soul worth saving?
Have you seen the light?
Then your life is waiting
Can you pay the price?

Promises leave you with nothing to show
Destiny leaves you with nowhere to go

Back to the wall
Have you seen the light?
Is your soul worth saving?
Back to the wall
Can you pay the price
Then your life is waiting

Down by the shore
We can help you no more
Standing with our back to the wall

[Les Holroyd, © St. Annes Music]


Highway For Fools

Vielleicht ein frühes Anzeichen von Johns momentaner Unzufriedenheit mit dem Musikgeschäft. Dieser Rocker greift die "Diamant-Liebe"-Vermarktung der Musik an, und sein Standpunkt liegt im doppelsinnigen "diese Sorte Rock (Stein) kommt nicht an". Es gab in den ‘80ern mehrere Zeiten, wo John ernsthaft seine Position in der Band überdachte, und die Zeit kurz nach Woollys Weggang war wohl so eine Zeit des Nachdenkens.

Text:
You got the groove
I got to move
Cause suddenly something's unreal
I got to go
Get up and go
Cause you ain't the way that I feel

I know what I like
And it ain't looking at you
If I have to believe
I believe in myself and nobody else
Your kind of love ain't for real

I got the wheels
I got the deals
But suddenly you ain't so cool
Great God above it's diamond love
But that kind of rock don't appeal

I know what I like
And it ain't looking at you
If I have to believe
I believe in myself and nobody else
Your kind of love ain't for real

I got to change it's feeling strange
And strange is a highway for fools
If it's diamond love that makes you feel good
Then that kind of love I can steal

I know what I like
And it ain't looking at you
If I have to believe
I believe in myself and nobody else
Your kind of love I can steal

[John Lees, © St. Annes Music]


Echoes And Shadows

Ein schön atmosphärisches Werk mit beschwörendem Text, scheinbar über eine Liebesaffäre, obwohl es auch um die Unbeständigkeit des Materiellen gehen könnte. Die Art, wie die Stimme vor der übrigen Musik ausblendet, bringt ein sehr effektives Ende.

Text:
Here lie the towers so tall
Strange, they tumble and fall
Time softly playing the chord
Could be lost in the void
Do your eyes see it all?

Gone like the dreams that you made
Sad how memory fades
Drawn by the mystical sight
There's a voice in the night
And your eyes see it all

Stay with me
All I want from you
Just stay with me
All I want to do
Is look in your eyes
And sail on through the night

Echoes and shadows
Drift through tomorrow's
Dreams that you follow
In the dark

Fools are entranced by the dawn
But the wise man misses it all
He laughs and the pages are torn
While the intellect scorns
As he clutches the straws

Stay with me
All I want from you
Just stay with me
All I want to do
Is look in your eyes
And sail on through the night

Echoes and shadows
Drift through tomorow's
Dreams that you follow
In the dark

[Les Holroyd, © St. Annes Music]


Death Of A City

Die Genese dieses Songs begann 1968! Obwohl große Teile für das Album neu geschrieben wurden, kommen viele Zeilen komplett vom originalen 1968er Demo. So manche John-Songs aus der Zeit haben ein ähnliches apokalyptisches Zerstörungs-Thema, und es ist kein Zufall, daß eine der neuen Zeilen "after the day" erwähnt.

Text:
I look down the street but there's no one there
In the cold, in the dark, in the night air
I call out for life but my heart feels despair
There's no sign of a light in the cold dismal night

The lights have all gone the clothes are all torn
The people are gone but the victory's won
I call out for life but it's after the day
Now the people are gone just the city alone

Eyes look from the second floor
Down to the street below
Calm now the wind is slow
See posters once on the wall
Now washed away in the rain
Peeling from buildings tall

I'll follow you friends to where life never ends
Make our mistakes again as our life lines descend
Time is like dust and the dust is like snow
As it covers the ruins of the life that you know

Trees once green now turned to stone
Objects that look like ghosts
All of them overgrown
Mist all sight and mind is blurred
Lie on your back and cry
Words uttered never heard

I look down the street but there's no one there
In the cold, in the dark, in the night air
I call out for life but my heart feels despair
There's no sign of a light in the cold dismal night

The lights have all gone the clothes are torn
The people are gone but the victory's won
I call out for life but it's after the day
Now the people are gone just the city alone

[John Lees, © St. Annes Music]


I’m Like A Train

Als Kontrast bringt Les einen der helleren Songs des Albums und beschreibt den Beginn einer Liebe (!) und den radikalen Lebenswechsel, den sie mit sich bringt. Mel half ihm beim Text.

Text:
Look around
And cry aloud
Seems so much is happening
But I have found
When you awake
The sky will shine
Even on a cloudy day

Want to be
Where I can see
Oh so much is happening
To you and me
Will it end?
Will day turn black
Will we ever see things right
And how can we make it through the night?

I'm like a train
That's jumping the track
Caught up in the slide
And I'll never come back
I turn around and look for a way
Nothing that I can do
Nothing that I can say

What a life
I was living before
Hard to see
If you can't find a door
Seen the turning
Know it's burning me
To be with you

I'm like a train
That's jumping the track
Caught up in the slide
And I'll never come back
I turn around and look for a way
Nothing that I can do
Nothing that I can say

[Les Holroyd, © St. Annes Music]


Doctor Doctor

Dieses Album war das erste digitale der Band; Während es teilweise etwas klinisch klingt, springen manche Teile aus den Boxen, vor allem der gezupfte Baß in diesem Track. Der Song beschreibt die Tugenden der Liebe als "natürlichen Heiltrank", bietet aber auch einen Einblick in die depressive Phase, die John durchmachte.

Text:
Doctor Doctor tell me if you can
What is wrong with me
I can't seem to find the key
Doctor Doctor I'm begging on my knees
Won't you tell me please
What could be my malady?

When I'm down feeling kind of low
I don't want to be the last to know
When I'm down crawling cross the floor
I don't want to be, I can't stand to be
The last to know

Doctor Doctor help me through the day
Give me something natural I can depend on
Doctor Doctor it's something that I need
It's a natural panacea
Like a cure for every fear
It's some of her sweet love
Mixed up with her young blood
True love and devotion
What a wonderful potion
Tonight, tonight

Doctor Doctor why am I alone
Listening to my heart
Beating through the cold dark night
Doctor Doctor I'm shaking in the gloom
Could this be defeat
Please don't stop, don't miss a beat

When I'm down feeling kind of low
I don't want to be the last to know
When I'm down crawling cross the floor
I don't want to be, I can't stand to be
The last to know

Doctor Doctor help me through the day
Give me something natural I can depend on
Doctor Doctor it's something that I need
It's a natural panacea
Like a cure for every fear
It's some of her sweet love
Mixed up with her young blood
True love and devotion
What a wonderful potion
Tonight, tonight

[John Lees, © St. Annes Music]


Life Is For Living

Einer von Barclays anhaltendsten Lieblingen, den Les zur Erstaufführung für das 1980er Konzert in Berlin schrieb. Er wurde als Single aufgenommen, um das Album zu verkaufen, und wurde durch Platz 3 in Deutschland und der Schweiz zur erfolgreichsten Single der Band.

Text:
You and me, our life is drifting along
Watching the world as it's singing its song
High above, someone is calling to me
Life is for living and living is free

You to me, are like the sun in the sky
See how you fly you have wings of your own
You and me, our love will last without end
Ride with the wind won't you follow me home

Turn around and see the circles we spin
And we're taking our chances on where we begin
Up above, the rain is falling on me
Life is for living and living is free

You to me, are like the sun in the sky
See how you fly you have wings of your own
You and me, our love will last without end
Ride with the wind won't you follow me home

Taking up time trying to write a line till the break of day
Given a sign can you make it rhyme tell me what to say
Making it fine can you ease my mind help me drift away

Turn around, and see the circles we spin
Taking our chances on where we begin
Up above, the rain is falling on me
Life is for living and living is free

You to me, are like the sun in the sky
See how you fly you have wings of your own
You and me, our love will last without end
Ride with the wind won't you follow me home

[Les Holroyd, © St. Annes Music]


In Memory Of The Martyrs

Der andere Song, der in Berlin uraufgeführt wurde, war Johns "In Memory Of The Martyrs", das die Fluchtopfer der Berliner Mauer betrifft. Ursprünglich sollte es als Double A-Side-Single mit "Life Is For Living" erscheinen, aber der Plan wurde aus unbekanntem Grund geändert, vielleicht weil es fast acht Minuten lang ist und durch Kürzung den Epos des Originals verloren hätte. Philip John Ireland, dem der Song gewidmet ist, war Johns Cousin, der in einem tragischen Autounfall in Deutschland getötet wurde.

Text:
Life is like a tall ship
Drifting gently from the shore
Time is like a fair wind
With a lifetime to explore
The beauty that surrounds you
Was meant to be adored
The problems that surround you
Were meant to be ignored
We are love, we are, we are love
We are love, we are, we are love

I dreamt I held a baby
I dreamt I held a child
I dreamt I held a young man
A prisoner in my hand
My hand I could not open
The man grew up inside
A prisoner without reason
Just on the other side
We are love, we are, we are love
We are love, we are, we are love

The blood red rose of summer
Grows elegant and tall
In memory of the green grass
Beyond the guardian wall
The green grass grows forever
Beneath the bloody sky
In memory of the martyrs
She'll cover when they die
We are love, we are, we are love
We are love, we are, we are love

[John Lees, © St. Annes Music]


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