From Hors D'Oeuvres Issue 11 Page 15
SPAWN OF BRITAIN....from indoors, out
Like his messages in music, it was a regulated design aimed carefully and with ruled
intent. Harper was realising that people were listening and he therefore wanted to be sure
that what he said would be understood. There was naturally a note of bitterness that
remained from the long hard years in damp folk-clubs, yet there was also a sweet
reminiscence of the things he had learned about people and the experiences he had gained.
These two factors were vividly undertoned in his next LP, 'Folkjokeopus', on Liberty. This
third entry contained strong references to the literary battle Roy has waged against the
incongruities of business connected with art. Below that, there was a goodly amount of
delicate expression of love for his wife Monica, his son Nicky and those who listened for
allowing him a chance to speak and be heard.
Recognition came, as it does to those who persevere at their talent until it
does. Out of the tiny basement clubs, Roy moved to outdoor festivals where thousands heard
him and to their countries as prime spawn of Britain. The few regular fans from the early
days who were privileged to watch him discover his ambition merged with increasing numbers
of new followers. His contexts altered to where his definitive position as a respected
writer afforded him the scope he required to function at capacity. His product continues
to build on itself, but no matter how much polish it acquires, no matter how well he
manges to say what he means, the mark of a good songwriter is stamped on his soul, he will
never be satisfied with one composition for long. Thus, wherever one enters his recording
progression, all that belongs to his past will be there to turn back to and much more is
forever promised. There isn't a trace of insincerity in Roy Harper the man....and his bark
is as powerful as his bite.
