Today (July 25) sees the release of the highly anticipated new Nick Drake boxset, The Making Of Five Leaves Left, which tells the story of how his stunning debut album came together across four discs of demos, studio outtakes and previously unheard songs.
Today (July 25) sees the release of the highly anticipated new Nick Drake boxset, The Making Of Five Leaves Left, which tells the story of how his stunning debut album came together across four discs of demos, studio outtakes and previously unheard songs.
Here is Uncut’s guide to the most revealing tracks from the new boxset, which shine new light on one of the most mythologised albums of all-time:
“TIME HAS TOLD ME”
(1st SOUND TECHNIQUES, MARCH 1968)
Drake’s second ever studio recording fully unpacks the rich voice, complex guitar progressions and mysterious lyrics that will forever characterise him.
“STRANGE FACE”
(ROUGH MIX WITH GUIDE VOCAL, SEPTEMBER 11, 1968)
A studio experiment whose overdubs build into an artificial-sounding,
proto-motorik groove, with Drake’s voice and guitar unperturbed at its heart.
INSTRUMENTAL
(CAMBRIDGE, LENT TERM 1968)
Only 1:40 long, this unknown guitar fragment taped in Robert Kirby’s room sounds packed with possibilities, forsehadowing Bryter Layter’s penchant for instrumentals.
“MICKEY’S TUNE”
(CAMBRIDGE, LENT TERM 1968)
The set’s new Drake song, supposedly named after his friend Micky Astor, is breezy and bossa nova-like. “When I played it at an event last year,” says Drake biographer Richard Morton Jack, “it hadn’t been heard publicly by anyone before – including Micky Astor, who was in the audience.”
“MADE TO LOVE MAGIC”
(CAMBRIDGE, LENT TERM 1968)
Dropped from Five Leaves Left, this lightly sung declaration of faith in the childlike and supernal now sounds like a major song. “Celestial,” Drake insists.
“STRANGE FACE”
(TAKE 1, NOVEMBER 12, 1968)
Danny Thompson’s bass gives Drake’s quicksilver, chiming guitar supple rhythmic backing.
“MAYFAIR”
(TAKE 5, JANUARY 4, 1969)
The outro features Drake and Thompson’s most telepathic improvisation, belying the former’s rep for repetition.
“’CELLO SONG”
(TAKE 4, JANUARY 4, 1969)
“Strange Face” reconfigured and retitled: Drake’s wordless humming and guitar arpeggios meet Clare Lowther’s titular instrument.
“RIVER MAN”
(TAKE 1, JANUARY 4, 1969)
Five Leaves Left’s greatest song arrives in solo acoustic form, with Drake’s guitar already suggesting its orchestral possibilities.
“RIVER MAN”
(TAKE 2, APRIL 1969)
Drake discarded the string middle section on this take for the rewrite heard on Five Leaves Left. But this version has its own wild power.
You can read the full story of The Making Of Five Leaves Left in Uncut Take 340, which is still available from our online shop by clicking here.
