Trader Horne ‎– Morning Way (1970)

Morning Way is the sole album by English folk-rock combo Trader Horne, released in 1970 on Dawn/Janus.

“The Mutant”: plucked acoustic progression with chromatic bass-descent from Am, McUley vocal (emphasized 5ths) over Dyble piano… light harmonized wordless refrain… soft flute over instrumental passages of the progression… fade-in/out piano coda … seemingly about the mutations people undergo when they become transients or monks…,
“Velvet to Atone”: slow, tender piano in Dm underlies Dybles lithe vocals and extended vowels… nonsequ-coda … about how things (peopl’s motives) are not what they seem (Satin is harsh as a scream) narrator wishes off an undesired presence (Take care, you choose one with your kind of mind) hoping the individual subject won’t reappear on her radar (And make sure you stay unknown)
“Children of Oare”: Flute-laced dipping strum rooted in Am… McAuley vocal, harmonized by dyble in the bridge and chorus… oceany sounds sweep in as the song nears its end on the line Golden sands swept in from the sea celeste/flute coda … lyrics that deal with abrupt change (It worries me finding my lady had gone) in exchange for newfound fortune (suddenly be
Golden sands swept in from the sea) … based loosely on the name-checked Darby O’Gill , where the subject gets taken by a pooka (deliverer of both good and bad fortune to marine communities) disquised as a horse (“Kilted horseman” in the song)

A1. “Jenny May” (2:23)
A2. “Children of Oare” (4:01)
A3. “Three Rings for Eleven Kings” (2:10)
A4. “Growning Man” (4:01)
A5. “Down and Out Blues” (4:30)
A6. “The Mixed Up Kind” (6:23)
B1. “Better Than Today” (3:08)
B2. “In My Loneliness” (2:19)
B3. “Sheena” (2:39)
B4. “The Mutant” (2:51)
B5. “Morning Way” (4:32)
B6. “Velvet to Atone” (2:24)
B7. “Luke That Never Was” (4:49)

1970 shortplayer:
A. “Here Comes the Rain” / B. “Goodbye Mercy Kelly”

Judy Dyble — vocals, electric autoharp, piano, songwriter
Jackie McAuley — vocals, guitar, harpsichord, organ, piano, flute, congas, celesta, songwriter
Ray Elliot — alto flute, bass clarinet
John Godfrey — bass, arranger
Andy White — drums

Barry Murray — producer
Howard Barrow — engineer
Paul Winter — sleeve design

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