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Nick Drake Home page | Discography | Lyrics | A-Z | Interviews | News | Links
Nick Drake Home page | Discography | Lyrics | A-Z | Interviews | News | Links
Nick Drake A-Z
An exploration into the world of the English singer & song-writer Nick Drake.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
M, N, O
Martyn, John
A British singer & song-writer, born in Surrey, England 1948, and a good friend of Nick Drake, to whom his song and LP Solid Air was dedicated. Martyn once described Nick as "the most withdrawn person I have ever met" (quote from Maconie, Q Magazine)
P, Q
Photos
Check out my Photo Gallery for some Nick Drake-related pictures.
Pink Moon - the record
Nick's third (and last) album, released in 1972 on Island Records. It's also the title track of that album.
See Reviews for contemporary reviews of 'Pink Moon'.
Pink moon - the story - 1970-72
Soon after the release of Bryter Layter, Joe Boyd sells Witchseason to Island Records' owner Chris Blackwell and moves to Los Angeles to work for Warner Brothers. In England, Nick's health condition is getting worse. The financial fiasco of 'Bryter Layter' and Boyd's move (which he interprets as a betrayal) makes him more depressed and inward. Nick's worried parents calls Boyd in L.A., saying they want Nick to see a psychiatrist; but he doesn't want to. Boyd:
"...they asked me to call and talk to him. And I did. He had this way of answering the telephone as if he just happened to have this thing in his hand and he was surprised to hear a voice come out of it. We talked for a while and he was very unhappy, and I told him he should see a psychiatrist, there was nothing wrong with it, maybe it would help him." (Lubow)
Finally, in 1971, his parents manage to get Nick to a psychiatrist in London. They drive to Sct. Thomas, one of the biggest hospitals in London, and get in touch with the head psychiatrist, a man famous for his work with depressive patients. Molly Drake:
"But something went wrong between us - it never really worked. And after all: What do psychiatrists really know. They are fumbling in darkness too..." (Rasmussen p.75-76)
Nick leaves the hospital with a prescription of three different antidepressant drugs. The doctor has declared that this is a case of an inner depression, i.e. one that can't be explained by external circumstances (childhood, upbringing, puberty etc). Nick is interested neither in the psychiatrist, nor the pills, but he follows the prescription. For a month. Then he starts and stops taking the pills as if he were taking aspirins for a headache. He is a bit better when he takes them, but stops since he wants to get through without them.
This is not a reaction to some temporary misfortune, it's a black fog that will cover him for three tormented years. He has a daily routine of sitting in a chair, gazing out of the window or stare at his feet. Sometimes he sits there in total darkness. He has by now moved back to his parents in Tanworth-In-Arden, but he is now and then driving to London. Sometimes he will change his mind half way there and drive back.
As the situation's growing worse, he even stops talking. One is only able to drag a 'yes' or a 'no' out of him. "I wish I could meet someone who's gone through what I have", he tells a friend. Another friend, Paul Wheeler, recalls:
"After 'Bryter Layter' it went straight down. He came here [London] sometimes and it was obvious that this depression, no... this despair he felt damaged him. What was going on in his head was something uncontrollable. He complained about evrything going out of hands. That he was controlled by powers beyond his reach - the record company, the business men... the whole system". (Rasmussen p.80)
An interesting note is made by Robert Kirby, a note that is a fine illustration of Nick Drake, both his music and his person:
"Nick was in some strange way out of time. When you were with him, you always had a sad feeling of him being born in the wrong century. If he would have lived in the 17th Century, at the Elizabethan Court, together with composers like Dowland or William Byrd, he would have been alright. Nick was elegant, honest, a lost romantic - and at the same time so cool.
In brief: the perfect Elizabethan." (Rasmussen p.80-81)
It's 1971. Nick will often leave home without telling anyone. His parents must call all his friends to see if he's alright. Nick has a lot of music running through his head, but he can't write, can't get it down. Chris Blackwell at Island Records offers him an apartment on the Spanish coast. When he returns to England in October 1971, he calls John Wood, telling him he wants to make a new album. Wood has received instructions from the company to record anything with Nick - anytime - so he tells Nick to come over. He arrives at midnight, pale faced, looking like a man who's been losing too much sleep. Nick sits down in the studio, perfectly in tune as always, and plays his songs in an unbroken suite. The record, 'Pink Moon', is recorded in two hours. Other sources claims that the songs were cut in two days, which actually sounds more reasonable.
A couple of days later, they meet to work out the arrangements. Nick puts on some piano on the title track, Pink Moon, but that's it. "I don't want them arranged", says Nick, "no frills".
The album is short, about 30 minutes, but Nick haven't got any more songs. In Robert Kirby's eyes 'Pink Moon' is the finest work Nick ever did. And an astonishing achievment: during the recording he was so depressed that he could barely speak, so confused that he would stand helplessly at an intersection, unable to cross.
Nick is now in possession of the finished tape, but one problem remains: he must bring it to Island Records. And explain why there are no arrangements. Nick drives to the office, but when he reaches the door, ha can't go through with it. Without a word, he leaves the tape with the receptionist. A few days later, someone actually decides to open the package and they realize that it's the new Nick Drake album.
Do I have to mention that this personal, stark album, released in February 1972, sells even less than its predecessors? I think not. Apparently, the public isn't ready for 'Pink Moon'. Here's a quote from Al Clark's review in Time Out:
"Sadly Nick Drake is likely to remain in the shadows, the private troubadour of those who have been fortunate enough to catch an earful of his excuisite 3am introversions." (Keep, p.73)
After the recording of 'Pink Moon', the life of Nick Drake is getting even darker than before. He now lives permanently at his parents' house. In the afternoons you can hear the sound of Bach's Brandenburg concerts. But the volume is turned down, hardly hearable. And when the record comes to an end, Nick lets the pick-up go on and on, listening to the sound for hours.
Another hint of the tragic and confusing circumstances that Nick lives under during this period, is the press information from Island Records upon the release of 'Pink Moon':
"Nobody is really sure where Nick lives these days. We're pretty sure he left his flat in Hampstead some time ago. We have a bank agreement for him so that he's always got his rent money and some spending bread, so there's no need for him to make more appearances than he does. The chances of Nick actually playing in public are more than remote." (quote from Maconie, Q Magazine)
Continue to Last years
Posthumous appreciation
The number of artists declaring their appreciation of Nick Drake's work is ever increasing and ranges from Elton John via Paul Weller to J Mascis of Dinosaur Jr. Tom Verlaine, the leader of New York combo Television has uttered: "The very best of them all is Nick Drake", and it's no secret that the single two heroes of Robert Smith from The Cure are Ian Curtis and... Nick Drake. I could name numerous names, but the point to me seems to be that Nick is now beginning to receive the appreciation he never quite got during his lifetime. Joe Boyd (producer):
"The phone calls from people wanting to do a book or a film on Nick Drake used to come in about twice a year. Now it's twice a month. Nick died 20 years ago, but his music seems more beautiful, more apt, more attuned now than it did when it was first recorded." (foreword to Way To Blue - An Introduction to Nick Drake)
A perhaps more ambigous (definitely unexpected!) tribute to Nick Drake is Nike's use of a part of his song Know (from 'Pink Moon') in a commercial for sport shoes. The commercial was shown frequently in 1995 on MTV.
In 1992, a tribute album dedicated to Nick Drake was recorded. It's called 'Brittle Days' and contains more or less unknown artists doing covers of Nick Drake songs. See Cover versions & Tributes
R, S
Real Audio
Listen to some rare, unreleased Nick Drake songs in Real Audio
Related music
This is my personal guide to "Nick Drake-related" or "Nick Drake-oriented" music of the past and today. A list of recommended favorites.
� � Some of the records on this list may, at a quick glance, seem far-fetched and of less relevance, but trust me - that is only due to the limits of our imagination and insight!
AMERICAN MUSIC CLUB
'Everclear' (Alias, 1991) (suggested by Vance Hernandez)
ERIC ANDERSEN
'Blue River' (Columbia, 1972)
SYD BARRETT
'Crazy Diamond' (3CD box. Harvest, 1993)
BELLE AND SEBASTIAN
'If You're Feeling Sinister' (1996) (suggested by George White)
BIG STAR
'The Third Album' (aka 'Sisters Lovers') (PVC, 1975)
DAVID BOWIE
'David Bowie' (aka 'Space Oddity') (Philips, 1969)
JACKSON BROWNE
'Jackson Browne' (Asylum, 1972)
JEFF BUCKLEY
'Grace' (Sony, 1994)
TIM BUCKLEY
'Goodbye And Hello' (Elektra, 1967)
'Happy/Sad' (Elektra, 1968)
'Blue Afternoon' (Elektra, 1971)
JOHN CALE
'Paris 1919' (Reprise, 1973)
'Music For A New Society' (Island, 1982)
TERRY CALLIER
'The New Folk Sound Of' (Prestige, 1964) (suggested by Ian Lindsay)
NICK CAVE & THE BAD SEEDS
'The Boatman's Call' (Mute, 1997)
THE CHAMELEONS
'What Does Anything Mean? Basically' (Statik, 1985)
VIC CHESNUTT
'Is The Actor Happy' (PLR/Bug Music, 1995)
'About To Choke' (PLR, 1996)
LEONARD COHEN
'The Songs Of Leonard Cohen' (CBS, 1968)
'Songs From A Room' (CBS, 1969)
'Songs Of Love And Hate' (CBS, 1971)
THE COWBOY JUNKIES
'The Trinity Session' (BMG, 1988)
THE CURE
'Faith' (Fiction, 1981) (suggested by Mark Carter)
'Disintegration' (Fiction, 1989)
DONOVAN
'A Gift From A Flower To A Garden' (Pye, 1967)
STEPHEN DUFFY
'Music In Colors' (Parlophone/EMI, 1993) (suggested by Mark Carter)
BOB DYLAN
'Freewheelin' (Columbia, 1963)
'Blonde On Blonde' (Columbia, 1966)
'Blood On The Tracks' (Columbia , 1974)
ECHO & THE BUNNYMEN
'Ocean Rain' (Korova, 1984)
MARK EITZEL
'Songs Of Love Live' (Demon FIEND, 1991) (suggested by Matthew Howard Robb)
'60 Watt Silver Lining' (suggested by Vance Hernandez)
JEREMY ENIGK
'Return Of The Frog Queen' (SubPop, 1996)
DAN FOGELBERG
'Home Free' (CBS, 1972)
GENESIS
'From Genesis To Revelation' (Decca, 1969) (suggested by Mats Renvall)
TIM HARDIN
'1' (Verve, 1966)
'2' (Verve, 1967). These two records were re-released as a single CD in 1995 (Repertoire) called '1+2'.
'3 - Live In Concert' (Verve, 1968). Re-released on CD in 1995 (Polygram) as 'Live In Concert', including 4 bonus tracks, not available on the original LP.
BEN HARPER
'Fight For Your Mind' (suggested by Mitch Parry)
'Welcome To The Cruel World' (Virgin, 1994)
KRISTIN HERSH
'Hips And Makers' (4 AD, 1994)
IDA
'Tales Of Brave Ida' (Simple Machines Records, 1994)
BERT JANSCH
'Bert Jansch' (1965) (suggested by Jeffrey Vogel)
ELTON JOHN
'Tumbleweed Connection' (DJM, 1970)
JOY DIVISION
'Unknown Pleasures' (Factory, 1979)
'Closer' (Factory, 1980)
MARK LANEGAN
'Whiskey For The Holy Ghost' (suggested by Vance Hernandez)
JOHN LENNON
'John Lennon / Plastic Ono Band' (Apple, 1970)
JOHN MARTYN
'Solid Air' (Island, 1973)
ERIC MATTHEWS
'It's Heavy In Here' (SubPop, 1995)
JONI MITCHELL
'Joni Mitchell' (Reprise, 1968)
'Ladies From The Canyon' (Reprise, 1970)
'Blue' (Reprise, 1971)
VAN MORRISON
'Astral Weeks' (Warner,1968)
NICO
'Chelsea Girl' (Verve, 1967)
THE NITS
'Ting' (Columbia, 1992) (suggested by Mark Carter)
BETH ORTON
'Trailer Park' (suggested by Amiel Leshnik)
GRAM PARSONS
'GP' (Reprise, 1973)
'Grievous Angel' (Reprise, 1974). These two records are also packaged into one CD (Warner Bros /Reprise, 1990)
RADIOHEAD
'Ok Computer' (EMI/Parlophone, 1997)
RED HOUSE PAINTERS
'Red House Painters' (4AD, 1993)
'Songs For A Blue Guitar' (Island, 1996)
R.E.M.
'Automatic For The People' (Warner, 1992)
THE REPLACEMENTS
'Tim' (Sire, 1985) (suggested by Weston Cutter)
DUNCAN SHEIK
'Duncan Sheik' (Atlantic, 1996)
SIMON & GARFUNKEL
'Parsley, Sage, Rosemary and Thyme' (Columbia, 1966)
ELLIOTT SMITH
'Elliott Smith' (BMI/Kill Rock Stars, 1995)
'Either/Or' (Kill Rock Stars, 1997)
THE SMITHS
'The Queen Is Dead' (Rough Trade, 1986)
'Strangeways Here We Come' (Sire, 1987)
SMOG
'Doctor Came At Dawn' (Drag City Records, 1996)
THE SWANS
'White Light From The Mouth Of Infinity' (Young God Records, 1991) (suggested by Keith D. Boe)
'10 Songs For Another World' (suggested by Keith D. Boe)
DAVID SYLVIAN
'Brilliant Trees' (Virgin, 1984)
'Secrets Of The Beehive' (Virgin, 1987)
TALK TALK
'Spirit Of Eden' (Parlophone, 1988)
JAMES TAYLOR
'Sweet Baby James' (Warner Bros, 1970)
RICHARD & LINDA THOMPSON
'I Want To See The Bright Lights Tonight' (Island, 1974)
'Shoot Out The Lights' (Hannibal, 1982)
TINDERSTICKS
'Tindersticks' (1993)
'Tindersticks' (1995)
SUZANNE VEGA
'Suzanne Vega' (A/M 1985)
SCOTT WALKER
'Scott 4' (Philips, 1969)
BEN WATT
'North Marine Drive' (Cherry Red, 1983) (suggested by Tim Walker)
PAUL WELLER
'Wild Wood' (1993)
'More Wood' (b-sides and unreleased) (suggested by Chris Andruss)
PAUL WESTERBERG
'14 Songs' (suggested by Weston Cutter)
DAVID WILCOX
'How Did You Find Me Here' (suggested by Jez Luton)
NEIL YOUNG
'Neil Young' (Reprise, 1969)
'Tonight's The Night' (Reprise, 1975)
Reviews
What did they think then? Read and enjoy what the 'experts' had to say about Nick's records at the time being. The reviews are in their complete forms except where indicated.
Melody Maker, July 26, 1969 (review of 'Five Leaves Left'):
"All smokers will recognise the meaning of the title - it refers to the five leaves left near the end of a packet of cigarette papers. It sounds poetic and so does composer, singer and guitarist Nick Drake. His debut album for Island is interesting." (unsigned review)
NME, October 4, 1969 (review of 'Five Leaves Left'):
"Nick Drake is a new name to me, and probably to you. From an accompanying biography, I read that he is at Cambridge reading English, was 'discovered' by Fairport Convention when they played on the same bill, and spent some time travelling in Europe, a trip which has greatly benefited his songwriting. I'm sorry I can't be more enthusiastic, because he obviously has a not inconsiderable amount of talent, but there is not nearly enough variety on this debut LP to make it entertaining.
His voice reminds me very much of Peter Sarstedt, but his songs lack Sarstedt's penetration and arresting quality. Exceptions are Mary Jane (sic), a fragile little love song, and Saturday Sun, a reflective number on which the singer also plays a very attractive piano." (signed by "G.C.")
Melody Maker, March 13, 1971 (review of 'Bryter Layter'):
"This is a particularly difficult album to come to any firm conclusion on. For one thing the reaction it produced depends very much on the mood of the listener. It's late night coffee'n chat music. The ten tracks are all very similar - quiet, gentle and relaxing. Nick Drake sends his voice skimming smoothly over the backing. The range of musicians used is apt to catch one unawares. Among the talents employed are Dave Pegg (bass) Dave Mattacks (drums) both of Fairport Convention, Richard Thompson (ld gtr) ex-Fairport, John Cale (celeste, piano and organ) ex-Velvet Underground, Ray Warleigh (alto sax), Chris McGregor (piano) and Pat Arnold and Doris Troy (backing vocals)." (signed by "A.M.")
Sounds, March 13, 1971 (review of 'Bryter Layter'):
"I get the feeling that only a Joe Boyd-Paul Harris alliance could have produced such a superb album as this. And once again a great slice of the credit must go to Robert Kirby, whose splendid arrangements are as noticeable as they were on Nick Drake's last album. On their own merits, the songs of Nick Drake are not particularly strong, but Nick has always been a consistent if introverted performer, and placed in the cauldron that Joe Boyd has prepared for him, then things start to effervesce. Also joining guitarist Nick Drake on various tracks are Dave Pegg, Richard Thompson, Ray Warleigh, Mike Kowalski, Paul Harris, Ed Carter, Lyn Dobson, John Cale, Chris McGregor, Pat Arnold and Doris Troy; it seems nothing has been spared to make this album a success, and Joe boyd and Nick Drake have certainly succeeded in their intentions. There has been a long gap between Nick's first and and second albums, and anyone who has seen Nick performing at Witchseason concerts in the interim will recognise tracks like "Hazey Jane". And this, like all his songs, does take time to work through to the listener with help from the beautiful backing which every track receives. (signed by "J.G." - Jerry Gilbert)
Record Mirror, March 20, 1971 (review of 'Bryter Layter'):
"A beautiful guitarist - clean and with perfect timing - accompanied by soft, beautiful arrangements by Robert Kirby. Nick isn't the world's top singer, but he's written fantastic numbers that suit strings marvellously. Definitely one of the prettiest (and that counts!) and most impressive albums I've heard. Remember what Mason Williams did with 'Classical Gas'? A similar concept here, but Nick does it better - it's refined. Happy, sad, very moving." (signed by"L.G.")
Sounds, March 25, 1972 (review of 'Pink Moon'):
"Island appeared to have forgotten about Nick Drake until he ambled into the offices one day and presented them with this album. No-one knew he'd recorded it except the engineer and it's a long way removed from the mighty sessions that Joe Boyd used to arrange for him. Nick Drake remains the great silent enigma of our time - the press handout says that no-one at Island even knows where he's living, and certainly he appears to have little interest in working in public again. The album consists entirely of Nick's guitar, voice and piano and features all the usual characteristics without ever matching up to 'Bryter Layter'. One has to accept that Nick's songs necessarily require further augmentation, for whilst his own accompaniments are good the songs are not sufficiently strong to stand up without any embroidery at all. 'Things Behind The Sun' makes it, so does 'Parasite' - but maybe it's time Mr. Drake stopped acting so mysteriously and started getting something properly organised for himself." (signed by "J.G." - Jerry Gilbert)
Melody Maker, May 1, 1972 (review of 'Pink Moon'):
"John Martyn told me about Nick Drake in ecstatic terms and so it seemed the natural thing to do, bag the album when it came in for review that is. It is hard to say whether John was right or not. His music is so personal and shyly presented both lyrically and in his confined guitar and piano playing that it neither does or doesn't come over. Drake is a fairly mesterious person, no-one appears to know where he lives, what he does - apart from writing songs - and there is not even a chance to see him on stage to get closer to his insides. In places he is a cult figure, and among the new younger sixth form and college audience there are pockets that go overboard to catch the latest glimmer of news that moves along the verbal news meanderings. The more you listen to Drake though, the more compelling his music becomes - but all the time it hides from you. On 'Things Behind The Sun', he sings to me, embarrassed and shy. Perhaps one should play his albums with the sound off and just look at the cover and make the music in your head reciting his words from inside the cover to your own rhythmic heart rhymes. Nick Drake does not exist at all. For lines of 'Know' - 'Know that I love you, Know that I don't care, Know that I see you, Know I'm not there.' It could be that Nick Drake does not exist at all." (signed by "MP")
Rolling Stone, April 1972. This is an excerpt from a review of the U.S. record 'Nick Drake', a compilation of Nick's first two albums (a fact that the reviewer, Steve Holland, seems to be unaware of):
"British singer-songwriter Nick Drake's American debut album is a beautiful and decadent record. A triumph of eclecticism, it successfully brings together varied elements characteristic of the evolution of urban folk rock music during the past five years. An incredibly slick sound that is highly dependent on production values (credit Joe Boyd) to achieve its effects, its dreamlike quality calls up the very best of the spirit of early sixties jazz-pop ballad. /.../ 'Nick Drake' is an addictive record - perhaps even more than its predecessors, since Drake's voice is so softly, seductively sensual. /.../ Could this sort of thing be the muzak of 1984? It would seem a fair guess. So what keeps it from being the muzak of today? The variety of its musical thought; the intensity of its aesthetic stance; and the superior musicianship of all concerned. /.../ Drake's greatest weakness - one he shares with all too many of today's male lyric troubadours, especially those from England - is the lack of verbal force in his song lyrics, which by and large could be characterised as nouveau art nouveau. In the case of Drake, this is less serious a liability that it is for artists who are more up front vocally. The beauty of Drake's voice is its own justification. May it become familiar to us all."
Los Angeles Times, December 1, 1994 (a "Classic of the Week" article about 'Pink Moon' by Mike Boehm):
"If you care to speculate as to where Kurt Cobain might have headed artistically had he been able to fan enough of an inner spark to stay alive, it's not unreasonable to hypothesize that, following his avowed desire to explore quiet, acoustic settings, and assuming further development as a guitarist and lyricist, he could have ended up with something like "Pink Moon".
� � It is the third and last album recorded by Nick Drake, an unjustly obscure English singer-songwriter who died of an overdose of antidepressants in 1974, at the age of 26 (a coroner ruled it a suicide, but Drake's friends and family produced persuasive evidence that his death was accidental). Helped by members of the leading British folk-rock band Fairport Convention and its producer, Joe Boyd, Drake emerged in 1969 with a flowing, hypnotic brand of folk-based pop employing strings and jazzy touches in a way that recalled Van Morrison's landmark album, "Astral Weeks." With "Pink Moon," Drake pared his music to barest basics: his voice, his acoustic guitar and a bit of piano.
� � As his career went on, Drake grew increasingly alienated in his personal life and dejected by his lack of success; after "Pink Moon," he gave up music for a couple of years before resuming songwriting near the end of his life.
� � "Pink Moon" comes across as a stark farewell, a brooding account of weariness and disappointment. It is self-pitying at moments, but they are redeemed by the sheer luster of the music. For the most part, "Pink Moon" is remarkable for Drake's composure. He sounds as if he is simply beyond whining, beyond protest over grim, irreparable states of affairs.
� � Drake's voice is unforgettable, a ghostly dream-murmur that eddies like the currents in a brook or the soft gusts of a temperamental breeze. His guitar playing is skillful and distinctive, full of shimmering, liquid rhythms, ticking, taut motion or lonely, lingering bell-tones.
� � Rarely has an artist expressed deep bitterness so gently as Drake does in songs like "Parasite," "Things Behind the Sun" and "Pink Moon," in which he prophesies a mystical apocalypse in slurry, cottony tones that are almost cheerful:
I saw it written and I saw it say
Pink Moon is on its way
None of you will stand so tall
Pink Moon gonna get ye all.
Elsewhere, Drake reaches for comfort, consolation and escape, introducing a muted yearning that brings a poignant shading to the album's prevailing mood of spookiness and defeat. Even in its darkest, most haunted moments, "Pink Moon" is infused with a rare and strange beauty. Seldom--only the Alex Chilton of "Big Star's Third" comes quickly to mind--has a pop musician haloed himself in such an alluring glow while mapping his own descent into despair."
Robinson, Harry
Robinson made the beautiful string arrangements on River Man from 'Five Leaves Left'. Robinson has later worked with Sandy Denny.
T
Tanworth-in-Arden
A small English village in the countryside, 12 miles south of Birmingham, north-west of Stratford, where Nick Drake was raised and lived from the age of four.
Thompson, Richard
Guitarist, singer & songwriter, former member of Fairport Convention. Born 1949 in London, by Scottish parents. Thompson plays electric lead guitar on Time Has Told Me from 'Five Leaves Left', and on Hazey Jane II from 'Bryter Layter'. He also appears as lead guitarist on an alternate version of The Thoughts Of Mary Jane, available on 'Time Of No Reply'.
Time Of No Reply - the record - 1967-74
Album released in 1986 on Hannibal Records, consisting of previously unreleased tracks; outtakes, early home-made recordings and the last four recordings in 1974 - the year of his death.
U, V, W, X, Y, Z
Wheeler, Paul
A folksinger and guitarist that Nick Drake met and became friends with at college in Cambridge. Wheeler was also the one who brought Nick and John Martyn together.
Witchseason
An undertitle to Island Records. Witchseason is owned by Joe Boyd and released the original 'Five Leaves Left' album in 1969.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z