Nicely Out Of Tune

Product Information

Although the label states that it is a ‘Radio Station Copy’ there is probably no other difference between this and the regular US record release. But what a difference between the UK and US sleeves! One description might well be ‘extravagant’. Another might be ‘over-elaborate and unpractical’! Whatever your opinion, this is certainly no ordinary album cover - consisting of what is basically a large open-topped envelope with a card insert. By the last verse, however, the writer has moved his focus from the personal to the universal, mankind best served by compassion and communal respect: When winter’s shadowy fingers/First pursue you down the street/And your boots no longer lie/About the cold around your feet/Do you spare a thought for summer whose passage is complete?/Whose memories lie in ruins/And whose ruins lie in heat?/When winter/Comes howling in.’

Didn’t think there could be more..." – Lindisfarne sang on the hypnotic and ethereal "Lady Eleanor" Turns out there is... You took me on a pleasure trip/But the waves got high and sunk the ship/And the captain was mad and so was his crew/And they all looked just the same as you.’

Follow Us

For myself, I was never quite the same after Fog On The Tyne. I still liked a bit of bombast – I still do – but Fog On The Tyne opened my eyes to the pleasure that can be derived from softer, acoustic music that has sheer enjoyment as its main objective and, when just a few months after my Fog On The Tyne epiphany, my bass guitar tutor got me to listen to Ashley Hutchings‘ Morris On, an album that truly and permanently shifted my musical axis, he was pushing at a door that was already half-open. All thanks to Fog On The Tyne.

Fog On The Tyne was phenomenally successful. it made number one in the UK albums chart and, although released in late 1971, it became the UK’s biggest selling album of 1972. For a short while, Lindisfarne were the biggest thing going and Fog On The Tyne was popular across a wide demographic, not just with those of us who aspired to be hippies. It couldn’t last, and it didn’t. The follow up album, 1972’s Dingly Dell failed to capitalise on the success of Fog on the Tyne, although, personally, it’s an album I’ve always enjoyed. The critical reception was muted in comparison to the euphoria heaped upon Fog on the Tyne and the two singles extracted from the album, All Fall Down and Court In The Act both performed poorly. In early 1973, the original line-up of Lindisfarne sundered and, whilst the band have continued to exist, albeit sometimes sporadically, and for many years were almost sacred property in their home city of Newcastle, they never managed to recreate the magic of Fog On The Tyne – so let’s leave the story there and celebrate a fantastic, memorable, influential and culture-defining album. Simon Cowe’s Uncle Sam is the album’s obligatory anti-war song, expressing the insecurities felt by a young generation faced with the likelihood of military conscription before we get to the album’s happiest song – and possibly one of the most carefree songs ever written – Rab Noakes’s Together Forever. Together Forever is a song that I continue to love, and I’ve often placed myself in the place of the carefree couple, sitting at the front of the bus, sitting on a park bench, or trying to hitch a ride, and just watching the world go by in front of their eyes, without feeling compelled to rush along with it. It’s just timeless and so joyful.Ray: OK Reinhard, here goes. All above is correct except that Dave Wood, in addition to being the engineer on all of Alan's and Lindisfarne's early demos, was also the owner of Impulse Studios in Wallsend, the third partner in Hazy Music and Alan's / Lindisfarne's manager. Uncle Tony was Tony Stratton Smith, Lindisfarne's manager and owner of the Charisma label which was based at Number 7, Dean Street (I think). Confusion because the office moved about six times in three years. Melodically serene and lyrically sublime, he develops the oration from climatic conditions to the human condition, asking questions of us as individuals and society as a whole in pondering the plight of those who are vulnerable and oppressed.

Reinhard Groll: Ray, on the rear side of the album cover of the original Charisma album, and only there, one can find a "Thanks to..." section. First named is Ian, Si's younger brother and Lindisfarne's roadie until the disband in 73. Then there is the "Hull family", Alan's wife Pat and their daughters Rosamund, Francesca and Berenice. Coming from the pre-LF time still under the name of "Brethren" and "Downtown Faction" are Jeff Sadler and Richard Squirrel. Long time friend and Alan's partner in Hazy Music: Barbara Hayes. David Wood as the Engineer and Uncle Tony might be noone else than John Anthony. But who is: "Charlie, Kath, Barbara, Anna, Julia, Joe Robertson, Drummond, Mr. Bolton and Spectrum?" Throughout a career as member of Lindisfarne and solo artist – that ended with his death at the relatively young age of 50 in November 1995 – Hull was committed to social justice and always a champion of the underprivileged. The final verse of this outstanding folk ballad is not only an extraordinary piece of literation, but manifesto for the next twenty five years. There are 2 versions of Lady Eleanor with regards to the lyrics. One has “… some music in my bone.” and the other “… some music playing in my bones.” In addition some versions have the intro cut and others are full length. Both "bones" & "bone" versions exist cut and full length. Cut versions are around 3:30, full length around 4:10. They sound like very slightly different mixes. When the turkey’s in the oven/And the Christmas presents are bought/And Santa’s in his module/He’s an American astronaut/Do you spare one thought for Jesus, who had nothing but his thoughts?/Who got busted just for talking/And befriending the wrong sorts?/When winter/Comes howling in.’ As the Americans seemed to get the British version on CD, I presume that this extraordinary version will only ever be released on vinyl! That is a great shame as I prefer this one to the UK release.In the end there is a court appearance and verdict handed down by the judge who hears the case (‘ I have to send you all to jail for doing this terrible thing‘), the bonhomie and sing along nature of the piece ensuring it was a song they rarely failed to perform onstage. If the end of side one showed Hull at his most passionate in the cause of human kindness, the second side begins with him in the role of witty storyteller – ‘ We Can Swing Together‘ an amusing account of a social gathering, party held by a group of hippies perhaps a better description, that is broken up by the local constabulary. Nicely Out of Tune is the debut album by Lindisfarne, released in late 1970. It charted more than a year after release, thanks to the huge success of their second album Fog on the Tyne, which topped the charts early in 1972. Appropriately, this striking debut collection ends with another impecable lyrical ballad by Hull, ‘ Scarecrow Song‘ a heartfelt plea on behalf of those feeling isolated and lonely, the scarecrow a metaphor for one whom fate has cast alone (‘ Your Saturday nights they are sober/And your Sundays are too long‘). The understated drums and resonant electric piano give the song such gravitas comparisons with The Band are in no way fanciful, the richness and sense of purpose apparent in this and several other cuts, quite remarkable for a first album. Inspired by ‘ The Fall of the House of Usher’ (a 19th Century short story by Edgar Allan Poe), Hull captures the supernatural aspect of the tale, his interpretation of events set on a platform incorporating electric and acoustic guitars, mandolin, but added to on this occasion by some ominous, yet atmospheric organ work. The guitar/mandolin framework would go on to serve many Lindisfarne songs, producer John Anthony, as he does throughout the record, steering clear of otherwise unnecessary embellishments in allowing the words and melody to speak for themselves:

The version on the original single which was released when Nicely Out Of Tune first came out and flopped (in pic sleeve - run off groove A1U) is a shortened version of the UK album version (bones). When Meet Me On The Corner was a hit in 1972 Lady Eleanor was rereleased as A2U (some copies in pic sleeve, most without). This is the full length version and is the same as appears on the US Nicely Out Of Tune LP (bone). There was a 3rd UK version (A3U). This is the same shortened version as A1U. Some versions of A2U have ‘(From the L.P. CAS. 1025 - “Nicely Out Of Tune”)’ on the label A side even though that particular version is different from the album. The 4 prong version is the same as the solid centre (A2U). It was overdue recognition for a record that had revealed Lindisfarne as a coming, if short term, early 70s force – and Hull as songwriter of exceptional vitality. I remember what the old man said on his little wooden stand/As he spoke very quietly with a waving of his hand/Every pigeon to its own hole, but what he seemed to say/I know I should go looking for, a better place to stay.’ And if you pass me on the side/Why don’t you stop and let me ride/You just had a better deal my son/Walking down the road to kingdom come.’Shaped primarily by the song writing prowess of guitarist Alan Hull, the band during its first incarnation left behind an impressive body of work, a couple of hit singles and reputation as a first class live act. Purveying an infectious brand of folk/pop, they had climbed to some lofty heights before time was called – this brief, but glowing trail set ablaze by debut LP ‘ NICELY OUT OF TUNE‘ (1970), the most assured of their first three releases and a defining album of the year. Now is the time to be loving and kind to your fellow men/Seeing the sympathy starting out all over again/Now is the time to give love just one more go/’cause you never know what you might know.’ Long before Lindisfarne made their first album we had a collective interest in things visual and often fantasised about what our sleeve would be like when we eventually made our first album. It was always when and never if. Confident little gits we were.