Amazing Blondel -

Amazing Blondel was an English folk-rock trio that debuted in 1970 on Bell Records, followed by the Island titles Evensong, Fantasia Lindum, England, and Blondel. On DJM, they made the 1974–76 albums Mulgrave Street, Inspiration, and Bad Dreams. Guitarist Eddie Baird released a 1976 solo album, Hard Graft.

Members: Terry Wincott (keyboards, cittern, recorder, flute, crumhorn, tabor pipe, ocarina, guitar, 1969-79, 1997-present), John Gladwin (lute, oboe, cittern, bass, 1969-73, 1980-2000), Eddie Baird (guitar, cittern, percussion, 1970-79, 1997-present), Adrian Hopkins (harpsichord, horn, oboe, strings, 1980-97), Paul Empson (dulcimer, guitar, vocals, 1980-97)

Background

Amazing Blondel sprung from Methuselah, a folk-psych quintet from Scunthorpe, Lincolnshire, with multi-instrumentalists Terry Wincott and John Gladwin. Their partnership stretched through a sequence of 1966/67 beat groups (The Dimples, Gospel Garden) that morphed into Methuselah, which made the 1969 Elektra album Matthew, Mark, Luke and John.

The Amazing Blondel

The Amazing Blondel released their self-titled debut album in May 1970 on Bell Records. The album contains ten John Gladwin originals.

The album presents a transitional fusion of Renaissance-influenced acoustic songcraft and contemporary folk-pop, performed by core members John Gladwin and Terry Wincott with backing from veteran session players. Though later known for their baroque-revival aesthetic, this early effort leans on a blend of antique stylings, blues elements, and orchestrated rock textures. Gladwin’s twelve-string guitar and Wincott’s harmonium, recorder, and ocarina underpin the pastoral sections, while select tracks incorporate rhythm section support and Eastern percussion.

Gladwin composed all ten tracks and shares lead vocal duties with Wincott. The duo arranged the material with musical direction from Big Jim Sullivan, who also provided orchestral scoring.

A1. “Saxon Lady” (3:10) — descant recorder and “snot flute” (Wincott), twelve-string guitar and lead vocals (Gladwin)
A2. “Bethel Town Mission” (3:15) — harmonium and lead vocals (Wincott), double bass and lead vocals (Gladwin)
A3. “Season of the Year” (2:46) — ocarina, bass complex, and vocal harmony (Wincott), tenor lute and lead vocals (Gladwin)
A4. “Canaan” (3:50) — harmonium and lead vocals (Wincott), double bass and lead vocals (Gladwin)
A5. “Shepherd’s Song” (6:14) — treble recorder, six-string guitar, and vocal harmony (Wincott), twelve-string guitar and lead vocals (Gladwin)

B1. “You Don’t Want My Love” (3:59) — harmonium and lead vocals (Wincott), double bass and lead vocals (Gladwin)
B2. “Love Sonnet” (4:08) — six-string guitar and vocal harmony (Wincott), twelve-string guitar and lead vocals (Gladwin)
B3. “Spanish Lace” (2:46) — six-string guitar and vocal harmony (Wincott), twelve-string guitar and lead vocals (Gladwin)
B4. “Minstrel’s Song” (5:34) — tenor recorder and vocal harmony (Wincott), tenor lute and lead vocals (Gladwin)
B5. “Bastard Love” (4:10) — congas and vocal harmony (Wincott), twelve-string guitar and lead vocals (Gladwin)

Sessions took place at Lansdowne Studios with producer Steve Rowland. Clem Cattini played drums, Chris Karan contributed congas, percussion, and tabla, and Gary Taylor played bass guitar. Engineering was handled by John Mackswith.

The album features art direction and design by Steve Thomas Associates, with photography by Richard Imrie. First pressings appeared as The Amazing Blondel on Bell SBLL 131 (1E 062 91203), printed by Garrod & Lofthouse Ltd.

Evensong

Amazing Blondel released their second album, Evensong, in November 1970 on Island Records. The album contains ten John Gladwin originals and one prelude (“Queen of Scots”) by Edward Baird.

The album refines the group’s early music revivalist approach, presenting eleven original pieces in the style of Renaissance consort songs and Elizabethan court airs. Played entirely on period-evoking acoustic instruments, the material interweaves lute-based accompaniments with wind arrangements, baroque keyboard textures, and formal vocal phrasing. Tracks alternate between pastorals, galliards, and stylized ballads, marked by modal writing, chamber instrumentation, and tightly structured ensemble interplay.

John Gladwin composed all but one track, with Edward Baird contributing the brief instrumental prelude “Queen of Scots.” Gladwin and Baird alternate lead vocal duties, supported by Terry Wincott’s varied instrumentation. The trio arranged and performed all core material with additional input from guest violist Adam Skeaping and percussionist Chris Karan.

A1. “Pavan” (3:20)
A2. “St. Crispins Day” (2:18)
A3. “Spring Season” (3:38)
A4. “Willowood” (3:22)
A5. “Evensong” (3:10)
A6. “Queen of Scots” (1:40) — written by Edward Baird

B1. “The Ploughman” (3:05)
B2. “Old Moot Hall” (2:38)
B3. “Lady Marion’s Galliard” (3:44)
B4. “Under the Greenwood Tree” (3:15)
B5. “Anthem” (2:52)

Sessions took place at Island Studios with producer Paul Samwell-Smith and engineer Roger Beale. Chris Karan contributed percussion and Adam Skeaping played viola da gamba and violone. Instrumentation includes lute, theorboe, cittern, double bass (Gladwin); lute and cittern (Baird); and crumhorn, recorder, pipe organ, tabor pipe, tabor drum, flute, harmonium, and harpsichord (Wincott).

The gatefold sleeve features cloister-set photography by Shepard Sherbell with interior lyrics and credits surrounding a live performance photo.

Fantasia Lindum

Amazing Blondel released their third album, Fantasia Lindum, in June 1971 on Island Records.

The album centers around the thirteen-part title suite, a pastoral tribute to Lincoln and its medieval cathedral. Structured as a fantasia, the piece alternates vocal airs and instrumental dances with recurring modal themes led by lute duets, recorder passages, and layered consort textures. Side two presents four shorter pieces in a comparable vein, concluding with a martial procession written by Terence Alan Wincott and performed with Traffic drummer Jim Capaldi.

John Gladwin wrote the full Fantasia Lindum suite and three standalone tracks. Edward Baird contributed the “Almaine” portion of the Two Dances medley, while Wincott composed the closing instrumental “Seige of Yaddlethorpe.”

A. “Fantasia Lindum”
— a. “Prelude and Theme”
— b. “Song (Swifts, Swains and Leafy Lanes)”
— c. “Dance (Jig Upon Jig)”
— d. “Theme (Lutes and Recorder)”
— e. “Dance Galliard (God Must Doubt)”
— f. “Song (Lincolnshire Lullaby)”
— g. “Dance (Basse Danse)”
— h. “Theme (Lute Duet)
— i. “Dance (Quatre Bras Pavan)”
— j. “Song (Celestial Light – For Lincoln Cathedral)”
— k. “Dance (Coranto)”
— l. “Theme (Lutes and Recorders)”
— m. “End”

B1. “Toye”
B2. “Safety In God Alone”
B3. “Two Dances”
— a. “Almaine”
— b. “Bransle (For My Ladys’ Delight)”
B4. “Three Seasons Almaine”
B5. “Seige of Yaddlethorpe”

Sessions were produced by Paul Samwell-Smith and recorded by Phil Brown. Instrumentation includes first lute, glockenspiel, dulcimer, and guitar (Baird); second lute and double bass (Gladwin); and recorder, crumhorn, harpsichord, harmonium, and percussion (Wincott). Traffic’s Jim Capaldi appears on “Seige of Yaddlethorpe” with military-style snare drums.

The cover design by Visualeyes evokes a Civil War-era setting and features Wincott’s great dane, Jacob, in the foreground.

England

Amazing Blondel released their fourth album, England, in October 1972 on Island Records.

The album presents six tracks arranged in extended pastoral forms that integrate classical structures, Renaissance instrumentation, and chamber orchestrations. Side one consists entirely of The Paintings, a tripartite suite composed by John Gladwin and described by the band as “three pastoral settings for voices, flute, guitars and orchestra.” Side two alternates shorter vocal works with two instrumentals, including Eddie Baird’s string-led Sinfonia and Terence Alan Wincott’s Gothic-tinged finale.

Gladwin composed four of the album’s six pieces. Baird co-wrote “Dolor Dulcis (Sweet Sorrow)” and contributed “Sinfonia for Guitar and Strings,” both featuring guest harpsichordist Adrian Hopkins. Wincott composed the closing “Lament to the Earl of Bottesford Beck.” The ensemble collaborated on the vocal canon “Cantus Firmus to Counterpoint.”

A. “The Paintings (Three Pastoral Settings for Voices, Flute, Guitars and Orchestra)”
— a. “Seascape”
— b. “Landscape”
— c. “Afterglow”

B1. “A Spring Air”
B2. “Cantus Firmus to Counterpoint”
B3. “Sinfonia for Guitar and Strings (From the Suite “For My Ladys Delight”)”
B4. “Dolor Dulcis (Sweet Sorrow)”
B5. “Lament to the Earl of Bottesford Beck”

Sessions featured orchestrated arrangements centered on lute, flute, and classical guitar, with additional contributions from Adrian Hopkins (harpsichord). Production and engineering credits remain unlisted.

The album appeared in a textured gatefold cover on Island ILPS 9206 with design and photographic elements evocative of pre-Restoration English pastoralism.

Blondel

Amazing Blondel released their fifth album, Blondel, in 1973 on Island Records.

The album marks a shift in direction following the departure of founding member John Gladwin. Retaining their acoustic foundations, the duo of Eddie Baird and Terence Alan Wincott moves toward a song-based structure with contemporary rhythm section support and electric studio textures. The arrangements incorporate piano, recorder, flute, and occasional crumhorn, set against understated rock instrumentation. The material centers around Baird’s melodic sensibility and expands through orchestral color and select guest appearances.

Baird wrote all ten tracks and shares lead vocals with Wincott, who contributes multi-instrumental accompaniment. The duo is joined by Steve Winwood on bass and Simon Kirke on drums, with Adrian Hopkins arranging and playing harpsichord. Paul Rodgers sings backing vocals on “Weavers Market.”

A1. “Prelude” (2:18)
A2. “Leaving of the Country Lover” (4:16)
A3. “Young Man’s Fancy” (5:20)
A4. “Easy Come, Easy Go” (3:36)
A5. “Solo” (2:33)

B1. “Sailing” (4:30)
B2. “Lesson One” (2:50)
B3. “Festival” (3:27)
B4. “Weavers Market” (4:35) — backing vocals by Paul Rodgers
B5. “Depression” (3:25)

Sessions took place at Island Studios with Phil Brown as producer and engineer. Adrian Hopkins arranged the string parts led by Jack La Roche. Backing vocals on side two tracks were provided by Sue & Sunny.

The album appeared on Island ILPS 9236 with a cover concept by John Glover, photography by Lenz, and layout/design by C.C.S.

Discography: